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INTRONAUT

Experimental/Post Metal • United States


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Intronaut picture
Intronaut biography
Founded in Los Angeles, CA, USA in 2004

INTRONAUT is a progressive metal band in 2004 by drummer Danny WALKER and guitarist Sacha DUNABLE. They started exchanging songwriting ideas and recording when Leon Del MUERTE joined the band on guitars and vocals. They had a good chemistry, but the band wasn't complete until bassist Joe LESTER joined the group. INTRONAUT recorded their demo, "Null", and started playing in small crowds and sold their demo in their shows. They sent some copies to different record companies and Goodfellow Records signed them. "Null" got re-released in 2006 and exposed the band to a wider audience. It got positive responses from many fans and critics so they started writing for their full length album, "Void", which was released in the same year. The album was a step forward and improvement from their debut EP. "Void" got a lot of critical acclaim from the media and showed a great start for a promising band.

INTRONAUT's sound is a combination of different musical backgrounds. Danny WALKER was a member of a grindcore band UPHILL BATTLE; Sacha DUNABLE is a member of the doom metal band Anubis Rising; Leon Del Muerte was a member of the death metal band IMPALED and the technical metal band EXHUMED; and Joe LESTER, while not being a member of any band prior to INTRONAUT, he has an extended knowledge on Jazz, Funk, traditional Indian music and a bachelors degree in music. Traces of past influences can be heard throughout INTRONAUT's music, but still never sounding derivative or wearing their influences in their sleeves.

The band released their critically acclaimed sophomore album, "Prehistoricisms", in 2008 and followed it up with "Valley Of Smoke" in 2010. INTRONAUT comes highly recommended for fans of sludge, technical, progressive, jazz, death metal.

- Ruben Dario (Chamberry) -

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INTRONAUT discography


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INTRONAUT top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.80 | 31 ratings
Void
2006
4.06 | 100 ratings
Prehistoricisms
2008
3.79 | 75 ratings
Valley of Smoke
2010
3.83 | 50 ratings
Habitual Levitations (Instilling Words with Tones)
2013
3.92 | 85 ratings
The Direction of Last Things
2015
4.12 | 46 ratings
Fluid Existential Inversions
2020

INTRONAUT Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

INTRONAUT Videos (DVD, Blu-ray, VHS etc)

INTRONAUT Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

INTRONAUT Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.96 | 11 ratings
Null
2006
2.98 | 9 ratings
The Challenger
2007

INTRONAUT Reviews


Showing last 10 reviews only
 Fluid Existential Inversions by INTRONAUT album cover Studio Album, 2020
4.12 | 46 ratings

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Fluid Existential Inversions
Intronaut Experimental/Post Metal

Review by Dapper~Blueberries
Prog Reviewer

5 stars So I wanted to review an album, but I had no idea what album to review. So instead of thinking long and hard about it, I figured to have a little fun and do some randomness. I went to RYM recommendations and selected a random number between 1 and 200 and I had to listen to and review the album it chose. With that, this was the album that I ended up having to review, and from the cover alone I was pretty excited to check it out because it gave me some awesome black midi or Ashenspire vibes. However, what I got instead was also equally amazing.

So, a little history about Intronaut. They are a California-based progressive metal band formed in 2004 with the lineup of Sacha Dunable, Leon del Muerte, Danny Walker, and Joe Lester. Throughout their career, they have released several albums with styles ranging from more sludge metal approaches to nearly post-metal acclaims, plus they went on tour with some notable acts such as Animals As Leaders and the great band Mastodon. This album is their 6th studio record after their 2015 release of The Direction of Last Things, released on February 28th, 2020. Before making this review I had never heard of this band, but after listening to this album I cannot deny that like a fisherman and their fish, I got hooked onto their boat with many other fishes, because this album is so freaking good.

For me, this album begins with a really strong prelude, that being Procurement of the Victuals. Now I do not particularly like talking about tracks that are more or less just small and quick openers for the album to begin with, but here I think I should because this one opening movement does bring to light the band's more cacophony appeal to progressive metal. It doesn't waste any time getting you into what the band wants you to hear, and what they want you to hear is some intensely immaculate metal. While not my favorite song here, I cannot deny that without this album it may be in an odd place for me.

Likewise, with the prelude, the first real track of Cubensis doesn't waste any time and gets right into the freeway of some tightly knit metal. This band knows how to stir its flavors in its pot. I am getting stuff that harkens to the more technical side of metal, while also going deep into the more sludge metal approach that bands like Mastodon would set a stage for in the early 2000s. Not only does this song rock, but it is a headbanger, even in the later half where things are a tad more like post-metal and thus quieter. It is an impressive and great force of heavy metal that shouldn't be underestimated.

However, that was merely an appetizer for the other great songs off this album, especially in retrospect to The Cull. If you really wanna hear that more sludge metal crossover between post-metal then this is the song for you. It gives a textural experience that a lot of post-rock music loves to do, but still retains that toxic waste like sludge in the mix, especially with the vocals. Sacha's and Dave's vocals on this album do give that good mix of that soft and clean metal appeal, and that grimey and sloppy appeal, similar to how the instrumentation has that divide of the mellow post-rock and the meaty sludge metal. I am a big fan of this approach because it mixes a ton of flavors so well that I cannot stop listening to it no matter what. There is always something new to expect and I love it.

One of the best things about this album is that it consistently delivers on what I have said before on The Cull. The next track of Contrapasso shows off more of that fun division of soft and hard metal, and not only do they deliver a ton with their music, blending a bit more ambiance with this song a bit more, they still retain that head bangy sound that I cannot help but fawn over. It is just that great.

Now while I would say that this consistency can be somewhat of a downfall for most albums, the band tries to spice things up by employing some more influences. Speaking Of Orbs is a great example of that. Not only do we get that same ol' awesome sludge metal the band has established, we even get a mix with a more Between The Buried And Me sound, specifically with their softer moments like with Desert of Song or the beginning half of Monochrome. As a BTBAM head, this was a very pleasant surprise to hear from what I'd expect to be another track that takes the same notes as the last four, so the experimentation on here is much appreciated. It is also probably one of the prettiest tracks on here, with the softer vocals and the use of atmospheric guitar melodies rather than riffs and growls. It is the stand-out highlight of this album for me.

Tripolar goes back to the sludge metal aspects that the band posed at the start, but we get a tiny bit of thrash and death metal on here that I think adds some great use of that more experimental side of metal. However that is merely for the first half, the second half continues that atmospheric side of their music that I have been loving ever since the first track. This second half soon loops back around to where the first half ended off, with that more death metal approach. Amazing progression throughout that I cannot help but adore.

If you want some more of their more heavy stuff then Check Your Misfortune is a good one to look into. Unlike most songs here, the more atmospheric moments are just as heavy as the harder moments on this song which I think allows the band to stretch their legs in that heavier side of music that they have an affinity for. How the song keeps up with this headbanger style of music but still progresses towards a clear-cut movement is how I like my progressive metal. A clear-cut forwarded movement that builds up and changes throughout.

I think the grandest song off of here has to be Pangloss. It carries the last few songs of this album in such a way that I cannot help but love it. It goes into the sludge metal the band dabbles with a lot, getting deep and dirty with that style of music on here, almost to the point where they almost dabble in stoner metal. With this track, you still have that progression, but the heavier side of the coin getting a lot dirtier just adds another layer to this immaculate lasagna the band has cooked up for my ears.

Rounding everything off is Sour Everything. I think this track not only is a great closure for this amazing album, but it goes back to what the past songs did and utilizes those same techniques here, experimenting with a wide range of influences from sludge metal, to post-metal, to even the more heroic feeling technical metal they had on Speaking of Orbs. It all builds up into this wide range of sounds that then get cut off by this soothing keyboard melody that is dim compared to the light show that we just experienced on this record. While it ends differently than how the album began, I do see it fits well with the sound the band painted here, thus creating a proper finale to this album that I think is a clear, and focused masterpiece.

When I jumped into this I expected something wild and crazy, but what I got was a mix of beauty, grittiness, and awesomeness rolled into one package. This has become one of my favorite metal records, and it happened by chance. If you haven't already then do yourself a favor and check this out. Run, don't walk to it, because not only is it one of the best progressive metal albums that came out this decade, I bet it can stand the test of time and be regarded as an instant classic in the music community. Give it a shot, you won't regret it.

 Void by INTRONAUT album cover Studio Album, 2006
3.80 | 31 ratings

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Void
Intronaut Experimental/Post Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Void" is the debut full-length studio album by US progressive/sludge metal act Intronaut. The album was released through Goodfellow Records in August 2006. It saw a slightly more prolific label release (in Europe) through Lifeforce Records in November 2006 (featuring the bonus track "Fragments Of Character"). Intronaut formed in 2004 and released the "Null" EP in February 2006. The quartet lineup who recorded the EP is intact on "Void".

The first thing I always notice when putting on an Intronaut release is the high level musicianship. "Void" is of course no exception to that rule, and there are several moments of skillful jaw-dropping playing and great interplay between the musicians here. So weīre off to a good start with the impact of the great musical performances. Stylistically the music is progressive sludge metal featuring raw hardcore shouted/semi-growling vocals. The vocals are probably the least interesting thing about the album, although they are well performed and definitely get the job done. They just donīt stand out much from the vocals on other similar contemporary releases. Itīs especially the rhythm section which are exceptionally well playing and who drives the music forward with powerful, organic, and groove oriented beats and rhythm patterns (often fusion influenced but also very percussive in style). That part of the music is very busy but still in a tasteful way.

The tracks are dynamic and features both hard edged distorted riffs and aggressive vocals, and more mellow sections. There are quite a few longer instrumental sections on the tracks, which are where the band really shine. The album is loaded with creative songwriting ideas and "Void" can definitely be labelled an adventurous release. "Void" not only features high level musicianship, and creative songwriting, but also features a professional, powerful, and detailed sound production which suits the material perfectly.

Upon conclusion this is pretty uncompromising music and while I almost always praise such an approach, I still think a few more catchy moments would have made "Void" a slightly better album, but if you enjoy heavy, rhytmic, and groove oriented progressive metal with aggressive raw vocals, and unconventional song structures, this is a recommended listen. A 3.5 - 4 star (75%) rating is deserved.

(Originally posted on Metal Music Archives)

 Fluid Existential Inversions by INTRONAUT album cover Studio Album, 2020
4.12 | 46 ratings

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Fluid Existential Inversions
Intronaut Experimental/Post Metal

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

4 stars Since the dawn of the post-metal / atmospheric sludge metal combo pack style that Neurosis delivered with its phenomenally original 'Souls At Zero' all the way back in 1992, the two closely and often overlapping styles of metal have really covered it all having cross-pollinated with black metal, folk metal, drone metal and beyond but there have been a lot of copycats out there as well. For every Isis there are 10 Pelican sounding bands but even in the fast riding populated style of music that really took off in the 2000s some bands managed to craft a sound that stood on its own. INTRONAUT is one such band that immediately caught the attention of the metal world with its debut album 'Void' and has pretty much continued to crank out a series of strong original albums ever since.

While this LA based band has been fairly consistent in delivering a new release every two to three years, it's been five long ones since the release of 'The Direction Of Last Things' and finally in 2020 makes a comeback with the band's sixth overall full-length studio release FLUID EXISTENTIAL INVERSIONS and with a moniker that connotes a mental inner journey into the vast metaphysical universe that lies within, this album title continues the nebulous mental quandaries of the reality we find ourselves existing in and cranks out nine tracks of the band's impressive progressive and even jazzy fusion mixes of crunchy sludge metal magic with atmospheric post-rock meanderings with psychedelic extras.

One of the most substantial changes between the half decade absence of the great INTRONAUT is the departure of long time drummer Danny Walker who left the band in 2018 but the great news is that he was replaced by a seasoned tech metal type named Alex Rudinger who has played with a large number of metal bands including Azrael, Burning Shadows, Conquering Dystopia, The Faceless, Good Tiger, The HAARP Machine, Ordinance, Samadhi and Threat Signal. While technically just a session musician, his drumming prowess amplifies INTRONAUT's strengths and keeps these guys firmly placed in the big boy's world of progressive sludge metal while other bands like Mastodon and Baroness seem to be wimping out and aiming for more crossover appeal. INTRONAUT continues to stand proud in its time signature rich stamped of sludgy riffs and psychedelic atmospheric excursions.

The beauty of INTRONAUT is that while keeping the same basic stylistic approach that started from the beginning, this band manages to keep quality control with every album just different enough from what came before and in the process manages to consistently deliver an excellent album's worth of progressive sludgy post-metal with psychedelic accoutrements. FLUID EXISTENTIAL INVERSIONS is no exception to this rule. In many ways, this album is like a synopsis of the band's entire run. Not only does it include some of the heavier growly vocal fueled sludge attacks as heard on 'Void' but also delivers a fair amount of clean vocal led atmospheric post-metal sounds that peaked on 'Habitual Levitations (Instilling Words With Tones).' Add in an amazingly crisp clean production that captures the perfect essential oils of both the metallic fury and clean passages and you have a freekin winner of an album.

Personally i think INTRONAUT probably peaked with its sophomore album 'Prehistorians' which captured its sound in perfect balance but despite that fact the band has been very consistent in crafting really complex yet compelling albums ever since and that certainly has not ended with FLUID EXISTENTIAL INVERSIONS. While i would prefer that the band venture into more explorations beyond their comfort zone, i'm quite aware that they are walking that tightrope act of pleasing the old fans while trying to attract the new and for that effort i have to say that this album is the perfect mix of what has come before even if no new elements have been added other than the tight-knit instrumental interplay that includes the new drummer. While this album may not expand on the band's previous stylistic approach in any way, for true fans this will not disappoint one little bit. This is another strong INTRONAUT album that delivers the goods.

 Fluid Existential Inversions by INTRONAUT album cover Studio Album, 2020
4.12 | 46 ratings

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Fluid Existential Inversions
Intronaut Experimental/Post Metal

Review by ssmarcus

5 stars 01/06/2021 --> Been meaning for some time to update this review to a 5 star. Hands down the band's best record with real staying power. --- Intronaut are known for employing the following formula: interject sludgy riffage with jammy, psychedelic passages. On "Fluid Existential Inversions" Intronaut perfects this formula. The riffs are standard Intronaut fair but they are given an extra measure of complexity thanks to a stellar drum performance. The psychedelic and jazzy passages are, at times, unspeakably beautiful. The lack of strong melody is, for me, a downside but perfectly understandable given Intronaut's emphasis on generating atmosphere.

This is an album that feels like it has an important message to relay though, at this stage, I'm not quite sure what that message is. If you are already an Intronaut fan, you will obviously love this album. If you are into challenging but ultimately inspiring music, you owe it to yourself to give this record a listen.

 Valley of Smoke by INTRONAUT album cover Studio Album, 2010
3.79 | 75 ratings

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Valley of Smoke
Intronaut Experimental/Post Metal

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

4 stars The year 2008 was a good one for INTRONAUT as they signed onto a worldwide deal with Century Media Records and hit a home run with their amazingly brilliant "Prehistoricisms." The band followed up with a successful touring schedule with Kylesa and Mastodon as well as the Great Indian Rock Festival in Dehli, India. Two years later INTRONAUT followed up that album in a most unexpected way with their 2010 release VALLEY OF SMOKE. There was a new direction a-brewing and the most noticeable aspect is the toning down the overall harshness and adding heavier doses of post-rock thus creating a thick atmospheric slick of post-metal with healthy portions of sludgery on the side. The band enjoyed the luxury of a stable lineup as well and on this one sees a cameo appearance of Justin Chancellor from Tool adding a second bass on the title track.

The opening track "Elegy" belies the direction of the album as it sounds like the signature progressive post-rock infused sludge metal that the band has been conjuring up from day one, complete with progressively constructed distorted riffs, shouted vocals and jazz- infused song structures. Starting with the second track "Above" Sacha Dunable seems to leave the harsh extreme vocals behind for the most part and focuses more on a clean atmospheric approach reminding me of the clean parts on later Enslaved albums in mood and dynamics. While the shouting pops up intermittently there is much more attention paid to the lighter aspects of the band's sound. This is an approach they would even further on the following album "Habitual Levitations."

After a perfect album like "Prehistoricisms" i hardly expected a repeat in its successful formula and i'm glad INTRONAUT didn't try to simply recreate it. I have to admit that i was initially disappointed by the approach on VALLEY OF SMOKE upon first listen as they seem to be on the same trajectory as The Ocean or even Mastodon where they began their career as uncompromising heavy sludge outfits and have slowly drifted towards the more ethereal and atmospheric pastures of post-rock infused sludge metal but after a few listens this one does sink in and the progressive time signature workouts accompanied by seasoned musicians and the stellar production of Josh Newell only makes this one better after every spin. True that it will never dethrone what came before in my book but VALLEY OF SMOKE is still quite the sophisticated atmospheric sludge metal attack with lots of post-rock meanderings. Unlike "Prehistoricisms" which i can put on any time and fall into the musical ecstasy zone, VALLEY OF SMOKE requires me to be in the right mood to want to hear, but when i am this one does deliver the goods.

 Prehistoricisms by INTRONAUT album cover Studio Album, 2008
4.06 | 100 ratings

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Prehistoricisms
Intronaut Experimental/Post Metal

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

5 stars After a debut album and two EPs under their belt the members of INTRONAUT were only getting warmed up it seems. Another member change with Dave Timnick taking over guitar duties after the departure of Leon del Muerte seems to have been the necessary ingredient to grant INTRONAUT that magical prestidigitation to whip up and unleash their absolute wildest and most experimental album of their career. PREHISTORICISMS continues their reputation as an intellectual extreme metal band that seamlessly blends together elements of post-rock, psychedelia and crushing sludge metal brutality all laid out in the most satisfying of musical deliveries of the ages. This is the album that even made the critics go gaga and publications such as Decibel, Metal Maniacs, Outburn, Revolver and so on praised INTRONAUT as the next best thing and after hearing this musical masterpiece it isn't too overly difficult to understand why.

The band goes about their usual business as before intermingling placid post-rock segments that once the listener is lured into a state of hypnotic bliss is sonically assaulted with catchy brutal riffs that sustain long enough to establish their dominance only to have the false sense of security shattered by unpredictable time signature changes that wend and wind the compositions through highly progressive head bangin' territory. While all the members are brilliant on their respective instruments, it's worthy of mentioning the above and beyond the call of duty of fretless bass player Joe Lester who infuses the sound with the technical jazz fusion aspects. Equally vital to the new technical achievements is former Jane's Addiction engineer Josh Newell, who blends together the seamless transitions between the soft and silky contemplative parts and the hardcore brutality by smoothing out any potential awkwardness between the contradictory styles on display.

While PREHISTORICISMS is undeniably the sound of INTRONAUT, the band went for broke and evolved every aspect of their sound to the next level. The compositions have been crafted carefully as to retain their signature sludge bombast all wrapped up with creative uses of slide guitar, fretless bass, highly technical drumming and ambient jazz-infused soundscapes. Timnick's riffing style is top notch with its fuzzed fury graciously fusing with Sacha Dunable's aggressively screamed vocals with an emphasis on lyrical intellectualisms and concepts of the most primitive and atavistic aspects of the human experience. As mentioned, what really sets this release apart from its predecessors isn't the excellent musicianship that is present on all of their material but rather the infusion of the jangly post-rock and jazz-infused technicalities. While throughout the majority of the album we are treated to brutal jarring dissonant orotundity, on the final track "The Reptilian Brain (Sleep, Eat, Shit, Fight, Fuck)" we are treated to a five part suite that begins like an Indian raga with sitars and tribal drums and slowly evolves into a 16 minute plus progressive behemoth that develops into a sludge metal monster that satisfies on all musical levels.

Not only is this my favorite INTRONAUT album but this is one of my favorite albums of all time. This is not only a desert isle pick but one that takes many of my disparate musical interests and throws them all together. The success lies not in the fact that these elements are all included but rather in how well crafted their inclusions are and how meticulously placed together in a logical sequence they exist while still finding improvisational space to deliver jarring surprises when least expected. The heavy down-tuned guitars and fretless bass work together in harmony while the percussion takes the listener on an exotic counter-journey. The rhythms, tones, timbres and tempos are all sorted out in a way as to allow the psychedelic and the sludge to not only coexist but to play together and dance the night away. This is highly recommended for anyone who craves mass quantities of intelligent design stamped upon every musical measure and imbued with exemplary musical maestrohood.

 The Direction of Last Things by INTRONAUT album cover Studio Album, 2015
3.92 | 85 ratings

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The Direction of Last Things
Intronaut Experimental/Post Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "The Direction Of Last Things" is the 5th full-length studio album by US progressive metal act Intronaut. The album was released through Century Media Records in November 2015. It's the successor to "Habitual Levitations (Instilling Words With Tones)" from 2013.

Stylistically Intronaut have taken a slight step back to their heavier past and reintroduce harsh shouting hardcore vocals. A feature which was almost completely missing from their sound on the predecessor. Most vocals on the album are still mellow ethereal clean singing though (I'm often reminded of Paul Masvidal from Cynic). The instrumental part of the band's music is still rooted in an adventurous playing rhythm section. Both drummer Danny Walker and bassist Joe Lester are very busy and quite inventive. The same can be said about the two guitarists/vocalists. The technical level of playing on this album is simply through the roof. There are strong jazz/fusion leanings in the music, but also sludge, post rock, mathcore, and progressive metal elements. The many styles combined it's pretty hard to make a valid description of the band's music, but atmospheric and technically well played progressive metal isn't an all wrong label.

The material on the 7 track, 46:03 minutes long album is well written, intriguing, and consistent in both style and quality. The combination of heavier hard edged parts and atmospheric mellow sections works well for the band. Even at their most aggressive and busy Intronaut have a sophisticated calm to their delivery, which means the music on "The Direction Of Last Things" is sometimes closer to rock than it is to metal. Artists like A Perfect Circle, Tool, and late era-Cynic are valid references.

"The Direction Of Last Things" is a very well produced album, featuring a clear, organic, and powerful sounding production, which fits well with the atmospheric music. So that combined with the brilliant musicianship and the adventurous songwriting, make for an intriguing listen and a high quality release. That's of course no surprise if you're familiar with Intronaut's preceeding releases, but it's still worthy of praise that they can continue to keep the quality level of their output as high as they do here. A 4 star (80%) rating is deserved.

 Null by INTRONAUT album cover Singles/EPs/Fan Club/Promo, 2006
2.96 | 11 ratings

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Null
Intronaut Experimental/Post Metal

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

3 stars Originally this came out as their first demo titled "NULL - Demonstration Extended Play Compact Disc" that was recorded and released in 2005, but the band managed to impress the ears of the good folks at Goodfellow Records and this was repackaged, given a real album cover and released simply as NULL which became their very first release as an EP. The demo only had four tracks but an additional fifth track "Burning These Days" was included on the EP.

NULL shows just how much INTRONAUT have changed over the course of a decade, however much of their progressive take on the world of sludge metal is quite in tact on this first output. NULL reminds me a lot of the earliest Mastodon releases where their music is much more aggressive and fueled with adrenaline with fewer slower jazzy passages slipped into the mix but not totally devoid thereof either. For the most part Sacha Dunable's vocals are growly and remind me a lot of Luc Lemay from Gorguts at this stage with very, very little clean vocals to be heard. The band are already adept at playing extremely complex riffs that form their signature melodic dissonance as Leon Del Muerte and Dunable deliver highly distorted and aggressive guitar riffs backed up by equally hardcore bass techniques of Joe Lester. Danny Walker has mastered the sludge metal drum sound but on this one he plays more aggressively and all the tracks are of a much higher tempo than much of the albums that follow. The time sigs and progressiveness is already in full play.

If you're already an INTRONAUT fan don't miss this debut EP for it's as entertaining as any of the lot but it is true that the intricacies and complex song structures that they would really develop on "Prehistorians" are not quite so characteristic of their sound at this stage. This is a band that wants to blow the roof off the house pumping out fast and furious sludge metal without much of the atmospheric touches that they successfully weave into their overall trademark brand of sludge. While i wouldn't call this their most essential offering i do find it one that i can't live without and a highly enjoyable form of sonic torturous eardrum bombardment.

3.5 rounded down

 The Direction of Last Things by INTRONAUT album cover Studio Album, 2015
3.92 | 85 ratings

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The Direction of Last Things
Intronaut Experimental/Post Metal

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

5 stars Since their debut on the progressive metal scene in 2006 with "Void," INTRONAUT have only upped their game incrementally ever since pumping out one amazing album after another pleasing us progressive rock fiends who haven't outgrown the extreme metal that sustains us. To the chagrin of some of us when an extreme metal band gets too soft, which was the case on "Habitial Levitations" where vocalist Sacha Dunable eschewed the growly extreme madness that makes extreme metal, well? extreme, is usually a sign that a band is on its way on the downside. Just something about shouted, growly and guttural vocals on top of highly distorted and anarchic sounding instrumentation just gives it that extra oomph.

Fears were being raised of going "Opeth" on that album that perhaps the band was toning things down a bit. Perhaps members were having babies, perhaps knitting sweaters for their wives, taking up home brewing or simply joining local cricket clubs. Well any such fears have been erased on their 2015 release THE DIRECTION OF LAST THINGS. Right from the very first glance of blackened birds swirling into the void reminds us of past glories that bring their magnum opus "Prehistoricisms" immediately to mind. The band was back to prove that they have indeed carved out their own brand of progressive atmospheric sludge metal and with this latest release they certainly have done so.

On THE DIRECTION OF LAST THINGS the band really takes all the best aspects of the past and borrows liberally from some of their influences and inserting them into their heavy distorted progressive madness that manages to combine totally new sonicscapes to escape within. Between the odd time signatures of the guitars of Dave Timnick and Sacha Dunable as well as the jazz-infused drumming talents of Danny Walker interacting on seemingly different worlds but threading it all together and the fretless bass maestrohood of Joe Lester, INTRONAUT simply has hit upon a sound and style all their own and with this latest release they only cement that sentiment into an already earned status placing them in the leagues of the influences heard on this album including the likes of Messhugah, Mastodon, Alice In Chains, Oceansize, Tool, Between The Buried And Me and beyond. However this band is certainly more than the sum of their influences thrown into a blender and randomly spewed out.

The beauty of INTRONAUT is how well they can cut and past and perfectly blend a furious storm of dissonance with various forms of abstract melodic development. They really know how to take the model of the structure of verse / chorus / verse / bridge / chorus thing and magnify that principle and into a much more complex mathematical equation, so while they are clearly in experimental mode they pay attention to keeping some sort of mental tracking system that takes patterns and repeats ideas enough as not to lose one's bearings, however this is indeed complex music and an acquired taste that demands multiple listens to fully comprehend.

What really strikes me more than anything about this album is how well the songs are constructed. They really take the listener on an interesting ride keeping all the past INTRONAUT styles and instrumentation in tact but utilizing an abundance of riffing, vocal styles, pulverizing drumming and atmospheres just dripping in aggression, melancholy and extra-dimensional prowess. The production is also extraordinary as every little sound is animated and allowed to fulfill its potential. It always amazes me at some of the negative reviews and ratings that go with the instant gratification process that music has in general garnered over the decades. This album is one that does not bring that happy joy joy feel upon first listen although it is not without its hooks and addictive qualities, rather it is one of those albums that ratchets up the listener's senses upon repeated listening. I'm finding this to be so much more satisfying upon repeated bombardments of my senses! While i understand this is truly a progressive metal band in the truest sense of the meaning, i don't find superficial exposure to be adequate in the eternal art of "getting it". This is music that took years to put together. Music that is to be worked for is some of the most satisfying music i have found and this definitely falls into that camp for even as an INTRONAUT fan i've had to pay special attention to the details.

This is highly recommended for all the obvious sludge metal freaks who like Isis, Mastodon, Baroness, Neurosis and beyond but there are many progressive aspects i am hearing that bring Enslaved, Gorguts, Alice In Chains, Tool and even Meshuggah to mind. Well worth the price of admission and one that only gets better the more you listen to it, at least that has been the case for me. Perhaps not quite as perfect as "Prehistoricisms" but definitely a close second in their discography for me and one that i am convinced will only garner more attention over the time as these days we are inundated with so much music that it's impossible to digest it all. What a wonderful problem to have!

4.5 but rounded UP!

 The Challenger by INTRONAUT album cover Singles/EPs/Fan Club/Promo, 2007
2.98 | 9 ratings

BUY
The Challenger
Intronaut Experimental/Post Metal

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

3 stars THE CHALLENGER is the third overall release and second EP by the progressive post sludge metal band INTRONAUT that is sandwiched between their first full debut "Void" and their second full album "Prehistorians." Although this is an EP it clocks in at a full 50 minutes. It is essentially a mix of three new tracks, five live cuts from "Null" and "Void," a truncated remix of "Burning These Days" from "Null" and an untitled bonus in the form of a stupid and irritating sound check but thankfully is at the end of the album so i can just simply *ignore* it :)

The three new tracks: "The Challenger","Whittler Of Fortune" and "Deep Architecture" pretty much see INTRONAUT continuing the sound set forth on their debut album "Void," however they seemed to have upped the aggression and downed the progressiveness. These tracks are more geared towards aggressive sludge metal with a post-metal type of atmosphere. While the progressive aspects have been toned down they certainly didn't go away and there are plenty of angular rhythms, technical drumming displays and deathened, anguished vocals to be heard.

The live tracks are fairly well done showing the band churning out some seriously muddy and hostile sounding post-sludgery. Since these tracks are taken from their first two releases they are more straight forward sludge meets post-metal sounding like a mix of maybe The Ocean meets Isis or Pelican. The production is actually nice for a live recording and the highlight of these tracks is the eerie mix of guitar sounds. While one guitarist churns out the rhythmic backbone of the songs, the other is creating strange atmospheric embellishments and when it comes to the solos they sound more like something off a freaky psychedelic Krautock album from the 70s then anything to be heard in metal. This EP is also the last for guitarist Leon del Muerte.

The remix for "Burning These Days" is a nice no-nonsense burst of spastic drumming, highly distorted jangly guitars and occasional sampling effects that add interesting mood dynamics. It has an interesting high speed volume fade in / out ending. The only track that is a waste of time is number 10 which is a sound check of the mic and drums with some profanities thrown in. Boring! This is not a stellar release by INTRONAUT but it was never intended to be. It's just a nice package of extra goodies for fans. While this may not be in the top leagues of their discography is certainly a worthy addition if you already dig their unique progressive sludgy post metal. The new tracks are certainly as good as anything on their debut and the live set is a nice sampling of their live capabilities. 3.5 rounded down

Thanks to chamberry for the artist addition. and to Quinino for the last updates

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