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12 customer reviews

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Audio CD, August 22, 2006
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$11.99 & FREE Shipping on orders over $35. Details Only 5 left in stock (more on the way). Ships from and sold by Gift-wrap available.

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Void + Prehistoricisms + Valley of Smoke
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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
  1. A Monolithic Vulgarity 5:59$0.99  Buy MP3 
  2. Gleamer 5:26$0.99  Buy MP3 
  3. Fault Lines 6:24$0.99  Buy MP3 
  4. Nostalgic Echo 5:18$0.99  Buy MP3 
  5. Teledildonics 7:08$0.99  Buy MP3 
  6. Iceblocks 6:32$0.99  Buy MP3 
  7. Rise To Midden 6:30$0.99  Buy MP3 

Product Details

  • Audio CD (August 22, 2006)
  • Number of Discs: 1
  • Label: Goodfellow Records
  • ASIN: B000GW8Q94
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Best Sellers Rank: #300,373 in Music (See Top 100 in Music)

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Most Helpful Customer Reviews

10 of 11 people found the following review helpful By Sunshine the Werewolf on August 29, 2006
Format: Audio CD
One of the most refreshing Metal Albums of 2006



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.
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5 of 5 people found the following review helpful By A. Stutheit on October 27, 2006
Format: Audio CD
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.
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5 of 6 people found the following review helpful By Michael Dolce on August 24, 2006
Format: Audio CD
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.
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