Zora
U.V.A.

I am slightly puzzled as I begin to describe this vague attempt at making music... I stumbled upon this disc while attending concerts, in the form of a "promo", which had a really poor package, akin to a CD cover with printed graphics inside... when the band themselves assured on their website that it was released as an album produced by an American label...

Honestly, I am not sure if the label really exists or if it's even an invention of the band itself, since it is completely unknown to me. Anyway, overlooking the pitiful artwork, nothing more than a child's drawing subsequently scanned, my first impression when inserting the CD is a terrible sensation of "emptiness"... the mid frequencies are completely missing and the result is something dry, arid, devoid of sound... it seems as if the instruments were kneaded into meringue and then "dried"; the drums at first seem like digital drums to me, given the total absence of creativity, merely keeping time with a probably triggered kick and snare sound; I am unsure if the cymbals have also been added in a "fake" way, but in general, the drums seem like a Bontempi keyboard... played by the Duracell battery bear.
On this splendid rhythmic foundation, a bass with inadequate volumes given the genre, (and in my opinion completely out of place), alternates "senselessly" with a guitar "without rhyme or reason", I say this because the scores are executed in an absolutely sterile manner, copying and pasting bits of riffs from 'Cannibal Corpse', or other bands of the brutal genre in general, with no desire to "say something", over this music marvel a monotonous voice alternates, identical in all tracks, absolutely sterile and useless.

Substantially, this review carries a polemical vein... I have nothing against the band members personally, but I ask myself at this point, is it right for our local metalheads to have this attitude a priori, is it right to say support the underground? Does this way of promoting and supporting every band trying to emerge not necessarily lead to the dissemination of an industrial quantity of sonic garbage? Encouraged by the fact that today it takes little to produce something like a CD? Are we imagining how many demos are made these days with sound blasters, or with capture cards, in home recording studios? Is this necessarily a good thing?
Or does it clog that toilet now full of these sonic turds you call underground? Let's consider one factor... 100 similar bands a day could record a similar demo, send it to the aforementioned labels that no longer even listen to the demos, given the amount of junk they receive each day... lined up, beneath 100 demos like this, there is probably an "album" of people who have something to say and will never be heard, because of this kind of "musicians" who, driven by passion for a kind of music they listen to, pick up instruments and with the daring, gall, but also the innocence of a child think "I can do it too," after all, recording costs nothing, we are not causing any harm, someone might like it... we could become like our idols...

SHOULDN'T IT MAYBE BE THE CASE FIRST to ask oneself if one has "Art," if one is "Inspired," if playing is driven by any vocation (as should be the case for any artistic product, musical or otherwise) or if it's just the desire to emulate one's idols, to chase one's dreams, all of which are legitimate... which, as legitimate as they may be, harm an already saturated market, close to extinction.

I INVITE YOU TO REFLECT Mithrandir.