Search - Intronaut :: Void

One of the most refreshing Metal Albums of 2006 / Best Debut

Sunshine the Werewolf | Canada | 08/29/2006

(5 out of 5 stars)

"One of the most refreshing Metal Albums of 2006



INTRONAUT - Void

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It's nice to see a band willing to experiment in the lush soundscapes of such post-metal footprints as acts like Neurosis or Isis. But Intronaut doesn't stop there, that would be too simple... They fuse together elements of Doom Metal, Hardcore and Mastodon-esc Rock in a manner which is as devastating as it is refreshing.



The album opener `A Monolithic Vulgarity' builds a fantastic atmosphere with the guitar and electronics before unleashing into tribal drumming that would not seem out of place on Neurosis's `Through Silver and Blood'. This song stays firm with some aggressive hardcore until the final minute and half where the dream-like instrumentation regains control. At just under 6 minutes this song is perfect beginning and should intrigue one to keep this CD running. The second song `Gleamer' gets right to the point... blasting right off into aural insanity before opening up to some fantastic Doom. The drum work is especially well executed during the slower parts of this song and special `Fault Lines' breaks in subtly and creates a vast atmosphere before collapsing into pure heaviness. Coming off reminiscent of the sonic assault of `Buried Inside'... Whereas track four, `Nostalgic Echo' various between a breathtaking homage to bands like `Red Sparowes' or `GYBE!' and brutal `Meshuggah'-like patterns. The bass playing deserves special attention on this song echoing the greats like Tony Chou (Atheist /x-Cynic) or Sean Malone (Cynic / Aghora / Gordian Knot). Bass is often pushed so far to the back burner but this album is really brought to life by the dominant bass sound of Joe Lester. The following two tracks, `Teledidonics' and `Iceblocks' are both well composed and build progressively from beginning to end, similar to overtly violent incarnation of `Pelican' or `Mastodon's' song `Hearts Alive'. The album's closer, `Rise to Midden' is a true testament to saving the best for last... Every second of the 6:30 is pure magic, with a skillful amalgamation of Hardcore, Post Rock Atmosphere and Technical Death Metal.



What makes Intronaut so special is their ability to not only think, but also write music outside of the proverbial box. Taking the best influences of countless genres and bands they've been able to create something which is both breathtaking and crushing. Most importantly it is different sounding than the vast majority of metal or hardcore to grace my ears in quite some time...

As stated above the rhythm section is the cement that holds this foundation together. I should also mention the other two members, Leon del Muerte and Sacha Dunable who share both vocal and guitar duties. The guitar varies between aural transcendence and crushing rhythms. The vocal work is standard for the genre but suited perfectly and not overdone by any means.



This is likely the best debut to come out in 2006 and will be in my Top 10 of the year... If you enjoyed any of the previously mentioned bands or The Ocean's `Aeolian' you should check this album out.



Favorites Songs: Rise to Midden, Fault Lines, and Teledidonics.

-5 Stars



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The next Meshuggah?

A. Stutheit | Denver, CO USA | 10/27/2006

(5 out of 5 stars)

"Since their largely overlooked debut EP was released earlier this year, Intronaut have drawn numerous comparisons to Mastodon. But with their second (and first full length) release, "Void," this L.A.-based quintet further proves that their overall sound--hefty, angular riffs, complex drum pattens, trance-like repetition, pin-point technicality, oddball time signatures, breakneck tempo changes, usually lurching rhythms, harsh, atonal vocals, fusion of jazz elements, etc.--actually falls more in line with that of Meshuggah's. And fortunately, Intronaut don't stop there. "Void" is very refreshingly unique and actually quite different from both of the above bands' albums, because it is a perfect balance of harmony and dissonance (punishing heavy stuff and gentle, carefully placed melody). All but one track on here has some pleasing-to-the-ear parts. Often, a song will begin with or go through a section consisting of docile strings and moments of near silence; but then, in not too long, guitarists Leon del Muerte (ex-Exhumed and Impaled) and Sacha Dunable suddenly launch headlong into series of riffs that drop from the sky and bludgeon the listener like a cement block. Sometimes a song will have a soft part that seems a bit tacked on, but the almost undying use of melody is needed because it intertwines the songs and makes them flow so seamlessly.



"Monolithic Vulgarity" begins with a minute and twenty seconds of eerie, foreboding guitar feedback and soft percussion that follows the same rhythm as a drum roll. This intro is then mowed over by a grumbling, bottom-heavy guitar lead, booming beats, beeping bass, and schizophrenic, almost puking vocals. The track then ends with clean, almost aquatic-sounding acoustic guitars and tribal drums.



Following that is "Gleamer," the album's only track that's devoid of any melodic pleasantries. This is a truly staggering song in that it has great musicianship throughout, and boy, is it heavy! The crushing guitars and lurching tempo combine to create a brutal, scorching interplay with the drummer's forceful, slamming double bass.



"Fault Lines" is awesome, too. The light strumming and wind noises at the beginning disappear when massive abrasive guitar riffs and propulsive bass line (which is still very audible, despite being buried beneath the sound's mix) kick in. Intronaut reign it in a while later, of course, and the energy level dives dramatically, but the song does build and regain momentum (with the help of a bouncy, ascending drum pattern) and ends with a climax.



"Nostalgic Echo" is one of many examples of a perfect, effortless flow from a menacing, low key sound to a rip-roaring one. Its instrumental, strings `n' all verses smoothly segue into huge, chunky guitar-driven choruses. Next, "Teledildonics" offsets frothing intensity (blistering riffs and driving, thumping drums) with a beautiful ambience that evokes the Deftones circa their 2000 album, "White Pony." Similarly, the gloomy "Iceblocks" has both quiet (almost silent), dwindling, prog-ish restraint and a bullying onslaught of brutality.



The set closer, "Rise To The Midden" is one of the instances where including melody seems a bit gratuitous. But this track, especially the bulldozing, Converge-meets-The Acacia Strain opening, is still very enjoyable.



"Void" more than deserves comparisons to the product put out by any great prog/technical-metal band, including Tool, Meshuggah, Meshuggah, Mastodon, Neurosis, Dillinger Escape Plan, Converge, Isis, and Pelican. But just because Intronaut include "progressive" touches and assemble their songs in such an epic, meticulous way does not at all mean that their music is hard to listen to. "Void" will take more than one listen to fully wrap your head around, but it still manages to be much easier to listen to, digest and absorb than one might think. This is one mighty tasty, highly infectious disc that warrants frequent return visits. Good stuff, indeed."

A breath of fresh air!

Michael Dolce | Fredonia, NY | 08/24/2006

(5 out of 5 stars)

"Contemporary metal lacks any type of innovation, musicianship, and creativity that thrived in the mid 80's, and then again in the early 90's with bands coming full force from around the world contributing to various genres and setting the standards for years to come. However, in the recent years, very few bands come out of the woodwork that rekindles the spirit of true music. Time after time we see mundane re-unions and rehashes of the same old thing, to try and pull us back to a different period of time. While, that is often fun be nostalgic to the "good old days", it's rare that a band such as Intronaut comes along puts out a debut LP that really makes you say to yourself: "Damn!".



This four-piece out of Los Angeles pushes out its second release not long after their debut MCD. Following in the same manor of the first, Void even pushes things further into amazing heavy rhythms that are equally progressive in nature. Everything from the insane drum patterns and "tinkly" symbols are technical and precise, and are accompanied by fantasic bass playing. It always pleases me to actually hear bass lines in metal, especially when they are jazzy in nature like Cynic, or Atheist. Upright bass even makes an appearance on this album. Guitar riffing is sometimes dissonant, chaotic and noisy, but often varies as it works with the rest of the band perfectly as one unit. There is no "main guy" in this band; each member produces their own unique qualities that effectively unite in creating equally amazing songwriting. Vocals are probably the least important factor here, and come off as a dual assault sometimes in a midrange screamy affair, but the music speaks for itself. Buy this album if you like your ears to be challenged. The more you listen to this album, the more you will appreciate it."