Drop-out Center Drone, Experimental The Infant Cycle Okay, I have a lot of bad to say about this album, and not a lot of good, and for me to start off a review flat out telling you it's bad rather than beating around the bush for a while, you know it's gonna be bad. Probably even worse than bad. Maybe it'll cause you to chew your arm off just because you can't stand it at all. Nonetheless, enough wasting both my and your time on my stupid theoretical mishaps. Instead, let us delve into the world of The Infant Cycle's bare bones musical (I say that while wincing) endeavors. Let's cut straight to it. One of the few songs on the album that I can actually listen to and call music would have to be Shiny Venus Part 2. It's a drone song, with a singular note, varying sometimes in pitch that thwarts in and out of the song. And, while this is a ten track release, it only runs for fifty minutes. And this song takes up fifteen minutes of that fifty minutes. So, (hold tight, we're gonna use math) this does allow me to say that I enjoyed thirty percent of the album. While the rest I can probably say I didn't enjoy all too much. Drop-out Center was alright in the beginning, bringing out some drums, as if someone was making noise just because they were pissed off. And then all the noise drops out and I'm given nothing for the final thirty seconds of the two minute song. Well, practically nothing. There's a little note going on there. But, it's just so low that I'd rather just sit in silence rather than not. Pipe was little more than what sounds like rats scattering through a sewer with a very faint drone line in the background. Acid Chicken was forty seconds of what sounded like a record being spun in ludicrous speed. Shiny Venus Part 1 was annoying for the first half, coming up with high pitched sounds from the beginning. And in the next half, it really just kinda drops the pitch and keeps going. Pool Skin had me kind of intrigued at the beginning, but then it just lost my attention once it continued on with the same shit. And then it lost it's touch in the final four minutes by giving way to minimalist sounds and just not doing anything at all, really. Then comes along Pape (Forked a Road), which is a minute and a half of some rather catchy noise, but then for the next two minutes delves into nothingness. Literally, like listening to the TV when it loses signal. Fall Asleep In The Car was alright, brightened me up a bit, but the overall bland atmosphere of the song really ruined the momentum. And, finally (I say this with grace), I came along A Mysterious Dusk, and that was just another pointless song which just held onto a bare minimum note that was faded, and if that's how I'm being sent out, then this album really does reek. And, well, the final statement of the last paragraph really does describe this album well. I, for once, cannot say that I see the talent within this artist. Yes, this album is a collective of his past twenty years of work, but sometimes the past needs to stay in the past. And, the man behind this project really should of just shelved these old songs and left them to rot. I don't see the point to this album, nor will I ever. I enjoyed the one song out of the ten. And that, for me, is terrible. 150
Brutal Resonance

The Infant Cycle - Drop-out Center

2.0
"Worthless"
N/A
Electroracle
Spotify
Released 2012 by Zhelezobeton
Okay, I have a lot of bad to say about this album, and not a lot of good, and for me to start off a review flat out telling you it's bad rather than beating around the bush for a while, you know it's gonna be bad. Probably even worse than bad. Maybe it'll cause you to chew your arm off just because you can't stand it at all. Nonetheless, enough wasting both my and your time on my stupid theoretical mishaps. Instead, let us delve into the world of The Infant Cycle's bare bones musical (I say that while wincing) endeavors. Let's cut straight to it.

One of the few songs on the album that I can actually listen to and call music would have to be Shiny Venus Part 2. It's a drone song, with a singular note, varying sometimes in pitch that thwarts in and out of the song. And, while this is a ten track release, it only runs for fifty minutes. And this song takes up fifteen minutes of that fifty minutes. So, (hold tight, we're gonna use math) this does allow me to say that I enjoyed thirty percent of the album. While the rest I can probably say I didn't enjoy all too much.

Drop-out Center was alright in the beginning, bringing out some drums, as if someone was making noise just because they were pissed off. And then all the noise drops out and I'm given nothing for the final thirty seconds of the two minute song. Well, practically nothing. There's a little note going on there. But, it's just so low that I'd rather just sit in silence rather than not.

Pipe was little more than what sounds like rats scattering through a sewer with a very faint drone line in the background. Acid Chicken was forty seconds of what sounded like a record being spun in ludicrous speed. Shiny Venus Part 1 was annoying for the first half, coming up with high pitched sounds from the beginning. And in the next half, it really just kinda drops the pitch and keeps going.

Pool Skin had me kind of intrigued at the beginning, but then it just lost my attention once it continued on with the same shit. And then it lost it's touch in the final four minutes by giving way to minimalist sounds and just not doing anything at all, really.

Then comes along Pape (Forked a Road), which is a minute and a half of some rather catchy noise, but then for the next two minutes delves into nothingness. Literally, like listening to the TV when it loses signal. Fall Asleep In The Car was alright, brightened me up a bit, but the overall bland atmosphere of the song really ruined the momentum. And, finally (I say this with grace), I came along A Mysterious Dusk, and that was just another pointless song which just held onto a bare minimum note that was faded, and if that's how I'm being sent out, then this album really does reek.

And, well, the final statement of the last paragraph really does describe this album well. I, for once, cannot say that I see the talent within this artist. Yes, this album is a collective of his past twenty years of work, but sometimes the past needs to stay in the past. And, the man behind this project really should of just shelved these old songs and left them to rot. I don't see the point to this album, nor will I ever. I enjoyed the one song out of the ten. And that, for me, is terrible. Aug 03 2013

Steven Gullotta

info@brutalresonance.com
I've been writing for Brutal Resonance since November of 2012 and now serve as the editor-in-chief. I love the dark electronic underground and usually have too much to listen to at once but I love it. I am also an editor at Aggressive Deprivation, a digital/physical magazine since March of 2016. I support the scene as much as I can from my humble laptop.

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