Press

...and reviews on The Sand
&
interviews to the Man Himself
that appeared somewhere on the Press
or the Internet
(make yourself comfortable)

How to become an OKKULT BAND...according to the online German dictionary NETLEXIKON.DE and WIKIPEDIA

Gebräuchliche Variationen des Begriffs: Okkult-Band (dt.), Okkultband (dt.), Occult Band (engl.).

Begriff für eine (Rock-)Band, die ihre Musik überwiegend zu rein kultischen Zwecken spielt (Begleitmusik zu Geisterbeschwörungen usw.), häufig mit dem Ziel übernatürlicher Erwirkungen (Magie, Hexerei, Totenerweckungen).

Soll sie dem Begriff zudem entsprechen, so hat sie meist ein gebrochenes Verhältnis zur Öffentlichkeit (häufig keine Tonträger, Musik wird ausschließlich übers Netz verbreitet usw.).
Daher ist die Silbe -kult- bei einer Okkultband als Verballhornung gegenüber der neueren Ausdrucksweise Kultband zu verstehen. In keiner Weise spielt der Mode-Kult eine Rolle, sondern das Ok-kult-e, bzw. der Kult im Sinne des religiösen Ritus.
Echte Okkultbands wollen ferner unterschieden sein von Black Metal- oder Horrorbands, wenn bei diesen nur das oberflächliche oder durch äußerliche grelle Schminke in Schrecken Bringen des Publikums im Vordergrund steht.

Ohnehin ist alles äußerlich Künstliche diesen Bands, denen eher das schleichend Unheimliche, anstatt das mit polterndem Terror Daherkommende nachgesagt wird, im eigenen Auftreten meist ein Greuel, weswegen sie lieber in gesellschaftlich konformen Klamotten (Spielraum häufig zwischen leger und elegant) daherkommen, denn als finster-martialische Rocker - aber ganz auszuschließen ist natürlich auch letzteres nicht.

In Deutschland gibt es bislang nur eine Okkult-Band im Wortsinne, nämlich The Atheists.
International laufen viele Bands unter dem Begriff occult band, doch firmieren hier auch einige Punk-, Metal-, oder Horror Bands unter der Bezeichnung.
Richtige magische Bands aus anderen Ländern sind hier zum Beispiel The Sand (www.thesand.net/csalva/index.htm), Brand X Savior oder The Unsatisfied.

Dieser Artikel von Autoren der Wikipedia wird durch die GNU FDL lizenziert.

we don't know what made THE SAND an okkult band (let's chalk it up to the Morrigan's ranting about old folklore) according to the net dictionary NETLEXIKON.DE
but you can read the entry by clicking below (not to mention we also find difficult to describe THE SAND "leger und elegant")

We discovered recently that THE SAND cover of the Joy Division song "TRANSMISSION" appears listed among other Joy Division covers on SHADOWPLAY which has full details of recordings (including bootlegs) and concerts,
JD history and geography, songs, lyrics, web links and books.

You can visit SHADOWPLAY by clicking below

Now, The Sand really would like to thank STARVOX WEBZINE for having published TWO different reviews of "The Memory of Dead Romances" by TWO different reviewers (the first being MICK MERCER, and you can read it here just scrolling down, the second KEVIN FILAN)
we don't know if this was just a misunderstanding between these two reviewers or a sign of great appreciation by STARVOX 'zine for " The Memory...."

...anyway thanks for the double review!

THE SAND
The Memory of Dead Romances

~reviewed by Kevin Filan

Italian musician Umberto Marconi (working as The Sand) sent a very pleasant note along with his very pleasant demo disc, The Memory of Dead Romances.

Very few musicians specifically request criticism, and even fewer recognize that a bland and noncommittal review suggests that your music didn't effect the listener at all. That kind of honesty and perception deserves an honest and perceptive review... and I hope I can live up to the task.

Marconi's music is generally "Gothic" ... but in a way that shows just how much "Gothic" has changed since its beginnings. Some of his influences are drawn from Goth's dark and early beginnings.
"Prayers" and "Krime 3" hearken back to vintage Joy Division and Sisters of Mercy, with a heavy drumbeat and jangling guitar underpinning a moody, distorted baritone vocal. While they don't break any new ground, they do their old school roots proud... music for dancing or moping, depending on your mood. (His by-the-numbers cover of the Joy Division's classic "Transmission" could have been left off -- it's well-done, but doesn't really offer anything new).

In the beginning, nobody who owned a Siouxie and the Banshees album would be caught dead listening to Duran Duran or Flock of Seagulls. Today "synthpop" has become a staple at many "Goth" clubs, and "80s nostalgia" may include Billy Idol or Dexy's Midnight Runners alongside the Cruxshadows.
With "Bella Come Non Mai" and "Endless Time" Marconi captures that simultaneously wistful-and-bouncy mood which characterized so much of the best 80s pop. It may not be great art, but it's certainly great fun... who could ask for more?

At first glance there's little in common between "Gothic" and "Industrial" music: one might as well imagine a double bill of "Bram Stoker's Dracula" and "Tetsuo the Iron Man." And yet the two have become associated forever by promoters and clubkiddies alike. Marconi pays homage to industrial's hard-edged anger with "A.M.I.P" and "Samurai (Version II)," giving us a not-so-skinny puppy that manages to be hard without being too challenging.

I was more interested, honestly, by the opening "A Joke," a brief dissonant piano interlude which reminded me of Pierre Boulez. Perhaps Marconi should expand his horizons by exploring some modern classical and avant-garde performers.
Schoenberg's experiments with serialism or Edgar Varese's sonic compositions could provide great inspiration for more challenging and interesting work on his part.

Overall Marconi seems to be a musician in search of his voice. This isn't a bad thing by any means: every artist goes through a period where he does what Robert Louis Stevenson called "playing the sedulous ape." He's certainly got the enthusiasm, and he appears to know his sources well. It's not a bad album -- it's always listenable and frequently danceable -- but neither is it a particularly original one. Right now it's good juvenilia; one of those early works which may well wind up a collector's edition when Marconi hits his stride and becomes a musical leader, not just a talented follower.



when you recover from the shock of hearing The Sand mentioned in the same review together with Pierre Boulez (!!!), Flock of Seagulls and Robert Louis Stevenson you can read the excellent STARVOX by clicking below

Read this review by Emmanuel Hennequin, originally published on the French webzine OBSKURE (no more translations here, I like this international flavour - moreover I'm fed up with translating stuff - N.d. Morr):

"Le moins que l’on puisse dire, c’est que si certains pastichent la musique d’Andrew Eldritch, tous ne charment pas autant que le projet The Sand.

Quoique dans le cas de The Sand, le verbe « pasticher » est un peu éloigné d’une description objective : musicalement, le son est typé et se rapproche certes des textures que développèrent The Sisters Of Mercy dans les années 80, mais son univers reste moins figé.
Emotionnel et extrêmement mélancolique, le rock (gothique) de The Sand, réalisé en solo par l’italien Marconi Umberto, met en exergue une voix aux relents très… « Sisters » (on y revient, tout de même), qui manque encore d’assurance mais qui rythmiquement se place bien.
A l’arrière plan, les guitares, concises et évocatrices, surplombent des armatures électroniques basiques, classiques et efficaces, au sein desquelles les plages de claviers et la basse servent de renfort principal.
Le son est « démo » mais clair, et donne un charme supplémentaire à cette seconde collection de… quinze (!) chansons, intitulée « The memory of dead romances ».
Citons quelques titres : pour ceux qui viennent chercher le revival goth, « Krime 3 » (le riff de guitare ne trompe personne sur les influences), « Prayers », « Space trip » (sous influence d’Ikon) ou… « Transmission » (sic).
Pour ceux venant quérir les ambiances et une musique plus ouverte, citons le curieux et entraînant instrumental « In a dark place », la transe industrielle de « A.M.I.P. », l’instrumental très… démo « Giovedi 17 ».
Pas franchement mûr sur la forme, le son de The Sand force la symmpathie et laisse tout de même pensif : avec quelques années de plus, on serait prêt à parier sur ce jeune homme, dont visiblement les troubles du romantisme et les chapeaux du rock gothique ont marqué l’imaginaire."

Emmanuel

...to read OBSKURE, you have to click below

Read this review appeared originally on ELEKTRAUMA a German webzine based in lovely Munich
( I like the "Sisters Of Mercy mit Sonnenbrille" part )

Aus Italien kommt diese Band um Mastermind Umberto Marconi. Diese CD ist nicht im Handel erhältlich, da es eine Eigenpressung ist.
Dass wir diese CD in den Händen halten durften, hat uns sehr erfreut, denn The Sand ist eine talentierte Band, die sich dem Dark Wave verschrieben haben.
Zwar erkennt man die mangelnde Qualität der Eigenpressung, aber gerade das macht diese CD sehr angenehm.
Denn man hat das Gefühl, wieder in die frühen 80er versetzt zu werden, wo zum ersten Mal solche ominösen Gestalten wie Sisters Of Mercy mit Sonnenbrille und dunklem Gewand auftraten.
Diese schummrige Atmosphäre kommt genial rüber.
Zu traurigen Gitarren setzt sich der nicht minder traurige Gesang drüber (manchmal auch mit einem Megaphon verzerrt).
Alles wird zu einem wohlklingenden Gesamtbild, das lange noch im Gehör bleibt. In der sehr persönlichen Presseinfo hat jener Umberto Marconi erzählt, dass er nicht helfen kann sondern nur Musik spielt. Und dass er das macht, ist vielleicht das Beste, was der Welt passieren kann.
(verfasst von Nuuc)

click below to read this gothic webzine

Read this review appeared originally on FUNPROX a webzine based in Utrecht, The Netherlands


The Sand is a one-man project from Italy.
Main man is Umberto Marconi, who has created this self-released cd. The listener can expect gothic music with a sense of tradition.
The vocals are rather tormented, especially in 'Prayers', even more than The Fields of the Nephilim.
The gothic rock is adorned by electronic means, which sound somewhat orchestral at times. Most songs on this cd possess a pleasant spontaneity and a somewhat sad atmosphere. Some tracks rock a little more than others.
A nostalgic trip that takes you two decades back, especially when you hear the Joy Division cover 'Transmission'.

For a self-released debut this dark rock by The Sand is certainly not disappointing, though I personally find that there is a bit too much pathos and not enough originality at times.
file under: gothic (gothic rock / (dark)wave / postpunk)

review by HD

click below to read more

Read some comments by Mick Mercer taken from his blog-like site
...on "The Memory of Dead Romances" by THE SAND 26th June '03

...Good points are the pleasing nature of the vocals, and the way what might be dour concerns are given an emotive lift, and the drum machine work although pretty dodgy at times, often adheres to a brutal snap, with an evil glint, and the cover of Joy Division’s ‘Transmission’ is one of the moodier I’ve heard...

‘In A Dark Place’ is pretty yet bold, with tinkling keyboard work, and while I could have done without the Neff-style vocals in ‘Prayers’ the song had some good mood swings.
‘Bella’ could have been a particularly fine song, with better production...

... there are three mad tracks here that make a far more instant connection with me as a listener, and have much more power, seeming wholly natural.
‘A.M.I.P.’ is doof-mania gone absolutely mental, with a garbled vocal fracas pitched in, followed by ‘Samurai;’ which is even madder, and richly imaginative (despite the slapdash drums), and the CD ends with some sneering, drawling rocky punk in ‘Jody Played Guitar’, that creates a strange picture overall...



...to read what's on this man's mind today, you have to



...this stuff also appeared on

Read this review appeared originally on GOTHIC PARADISE a German webzine


Aus Italien erreichte mich diese durchaus angenehme Promo-CD, die mich ein wenig an meine Jugend erinnert (hört sich jetzt sehr altbacken an, ist aber so *g*). Denn „damals“ gab es noch die typischen Gitarren-Gothic Klänge, wie von den SISTERS OF MERCY, THE MISSION und CHRISTIAN DEATH, die bei dieser CD wieder zu finden sind.

Marconi Umberto, Kopf der Band THE SAND, schreibt in seiner Bandinfo, dass er vielerlei Musik gehört hat, aber auch sehr von Bands wie den SISTERS beeinflusst ist. Teilweise läuft einem ein leichter Schauer den Rücken hinunter, und man fühlt sich, trotz einiger elektronischer Einflüsse, in alte Zeiten versetzt.

Die Stücke auf dieser CD sind alle aus verschiedenen Epochen der Band, und deshalb auch eher nicht alle in gleichem Stil. So klingen die Stücke "A.M.I.P.(Death To The Pope)" und „Samurai (Version II)“ eher nach 80er Jahre Punk, während die nicht ganz so gelungene Coverversion „Transmission“ von JOY DIVISON, direkt danach sehr aus dem Rahmen springt.
Obwohl es „nur“ ein Demo ist, der Klang ein wenig dumpf erscheint und ein paar Stücke vielleicht noch überarbeitet werden müssten, finde ich die CD als Erstlingswerk recht gelungen.
Freya Diepenbrock

click below to read this gothic webzine

Read a new Review appered originally on Bs As Oscura (a HUGE Argentinian Webzine!)

"The Memory of Dead Romances" - THE SAND
We are before the presence of an unique composition considering the same author (Umberto Marconi) variety of styles and the sensation and emotion that transmits in its music, which takes to each one of the listeners, as the band´s name suggests, to the oasis created in mystical sands.
The cd called "The Sand" takes the same name as the band and compiles 15 tracks that include different moments of the author, which impregnate his beliefs, his desires, his essence...
When listening the tracks we found influences of Sister of Mercy and The Prodigy.

The following are the outstanding tracks considering my personal opinion :
My favorite: "In a dark place": A purely electronic track. perfect sounds combination gathering nostalgia and mysticism.
Krime 3: For gothic lovers , the atmosphere created by the singer´s voice depth, mixing English and Italian phrases, demonstrating the particular force that it takes.
Chances: Beautiful combination in keyboards and guitar, while its voice melts until forming a trio that competes in its lyric with the downheart and pain .
A.M.I.P: Hard, very hard, as much in its sound as in the lyric that is revealed against the religious institution.
And no words for Prayers: The Cult influence and the attention on the world we have created.

Totally recommendable CD of 69 minutes sounding in your ears and plenty of time sounding in your head.

...to see how big Bs As Oscura is, click down here



it's in Spanish and English

Read a new Review appered originally on Wrath.de Webzine by AJR

"The Memory of Dead Romances" - THE SAND
This pleasant Promo Disc has reached us from beautiful and mostly sunny Italy, and reminds us of those unfortunately long forgotten times when one was used to meet in gloomy clubs to the sound of so-called gothic music. Once upon that time when there had been pikes and black coats and styled hair... long ago, though.
The Sand writes in his biography that he’s used to listen to various types of music, and was much influenced by the Sisters, influence that can be positively heard on this album.
The music reminds of them and of Mission, Banshees, Bauhaus & CO with a modern, somewhat electronic impact.
The album, despite its demo character, is well made and composed with a sense of melody. Normally the singing is not the first concern in one-man projects like this, but The Sand has succeeded passably.
All in all, a CD which not only nostalgics like me will get used to like, even if it is not very homogeneous - many songs have been composed in completely different epochs. It doesn’t matter! It is also pleasant that The Sand takes himself not too seriously, which is also very valuable.

My listening tip: Samurai! Simple surf and test on the HP, it’s worthwhile.
Andreas "Jay" Reif

...to learn about WRATH webzine click below (N.B. it's partially in English)

Review appeared originally on Sottoterra.it - music virtual community - 05/2003


"The Memory of Dead Romances" - THE SAND
“Intense work, this "The memory of dead romances" by The Sand (or better to say: Umberto Marconi, one man band in this project).
Fifteen dark & gothic tracks with a strong keyboards and electronics presence. A good sonic weave and a clean sound, that leave the right space to simplicity in composition, expressed and declared by Umberto himself in his extensive biography that comes with the demo.
Influences are easy to spot: Sister of Mercy on all and, at times, also echoes and splashes of The Cure. Alternated lyrics in English and Italian, demonstrating versatility and flexibility, touching some gothic-existentialist themes.
It’s a pleasure to find again sonorities not very much used and almost forgotten nowadays, which sink their roots in what of good the ‘80s have produced.
Among the most interesting tracks, I would point "Endless Time" in which a distorted guitar dawns on the background, to accompany the track itself. "Chances", first-rate work of keyboards, and a beautiful part of a guitar crescendo, little before third minute. Fascinating the riffs in "Monica" and "Autumn waltz".
"A.M.I.P." is more alternative, with distorted voice and drums, and is decidedly anticlerical for the topic dealt, a strong outcry against the religious institution.

A good job altogether, 69 minutes very beautiful and full … and I’m not trying to be flattering, I say this because I mean it!!!
An interesting job, especially for the lovers of this music genre.”
Feedback

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Review originally appeared on CHAIN DLK - Gray Area Music Magazine - on 27.05.03

Today's featured Review
Category: Dark / Gothic / Wave / New Wave / Dark Wave / Industrial Gothic
Artist: THE SAND
Title: The Memory Of Dead Romances
Format: CD
Label: Self Produced
Born as a band in 1994 without a specific identity and without a name, the Sand shortly became the personal project of Umberto Marconi who decided to exorcise his own ghosts producing his own music. Even if their city is in Italy the symbol of summer days passed at the beach with children playing all over, Rimini didn't prevent the manifestation of Umberto's dark soul.
The CDr titled THE MEMORY OF DEAD ROMANCES contains fifteen songs deeply influenced by 80s' new wave and early goth music. The main references are Sisters Of Mercy, Joy Division (there's also their version of "Transmission") and the early Italian wave of bands like Diaframma or Litfiba. Even if listening to this demo some naivety is evident, the intentions seem to be pure and full of real passion. Unfortunately the recording and the arrangements need additional work to give to the band a personal identity without being an incarnation of their musical heroes.
Good intentions and some good ideas are the right beginning and half of the work is done. Check some mp3 at his website...
Review by: Maurizio Pustianaz

...to learn about CHAIN DLK click HERE

ATTENTION: THE SAND MUSIC CAN GIVE YOU FITS!!!
If you can’t believe it, read the review published on the Dutch webzine gothcore.nl !

"The Memory of Dead Romances" - THE SAND
Normally, I dread only bats, but this time those who play in the “The Sand” line-up have given me fits.
The Title of this CD suggests some beautiful, poetic and dark music, and in a measure it’s like this. The way in which genuine musicians turn into mere imitations of old heroes is way too stupid even for the word itself.
The instrumental track “A joke” (and it’s no joke) still let us assume some sort of experimental music but with “Prayers” a though comes into my head: they have beautifully copied Joy Division and want the world to know it: the singing, the bass, the thin keyboards, is a tired “Unknown Pleasures”. In “Endless time” they have repeated this insipid game and, for an excessive calamity for the group of Manchester, they make an extended cover of Transmission.
Mister, don't try to copy Ian Curtis!
Fortunately the band... eh... the The Sand, here and there, beyond some too studied ideas, make forget the committed desecration; The already mentioned “A joke”,” Space Trip”, “Chances” and “Autumn waltz” are worth listening. Tracks at the same time serious and tensive . If the band in future will research in this kind of tracks, then will probably become something.
With “A.M.I.P.” And “Samurai” The Sand still gains stature, and reminds in the rhythm the speed of the Prodigy; the ideas are half succeeded, but give to the band a little more than a pass mark.
6,7 - John Buis
26-05-03


...to get to know this Dutch that dreads bats,click on the banner below
(we decline every responsibility if you happen to get fits too)

Review by Yabba, originally appeared on Yabba's World - Electro Industrial EBM Internet Magazin - on 24.05.03

"The Memory of Dead Romances" - THE SAND
"The Sand" from Italy present their songs for the first time to a broader public with the CD "Memory of Dead Romances ".
"The Sand" describe themselves as dark-gothic, and similarities with the "Chants OF Maldoror", "Rozz Williams" and "Sisters OF Mercy" are to be pointed.
Nevertheless "The Sand" have a personal sound.
The debut CD is worth hearing and offers a deep view of the work of Umberto Marconi, head of this project. My personal favourites on this CD are "A Joke", "Prayers", "Autumn Waltz" and "Monica".
The Yabba dark Newcomer of the month.
Evaluation: 88%

...to learn about Yabba's world you have to read German and click on the banner below



...this review also appeared on the-gothicworld.de - we don't know why, but we appreciate it anyway! :) -

Read a new Review (appered originally on the 14th of April 2003 on Twilight-zone webzine by :Spleen:)

"The Memory of Dead Romances" - THE SAND
Umberto Marconi, mind of the Italian project The Sand, has just released his first CD that contains a selection of tracks composed from the ' 95 up to these days.
Lots of different musical influences that can be easily traced in the 15 tracks of "The Memory Of...".
Energetic wave slashes and doleful melodies are the main formulation of his sound, very well composed and arranged, and supported by dreamy lyrics which make us recall of the very first Diaframma and the first Litfiba, too.
The most classic ’80 wave guitars and elegiac keyboards meet in order to let us contemplate the most melancholic and lunar territories of this music genre.
This selection of tracks anyway identifies rather heterogeneous atmospheres, that go from some Sisters of Mercy references to the Stooges and also to Joy Division (as it’s shown by the cover of “Transmission”). Perhaps recording and mixing are not flawless, but there’s no doubt that The Sand music proves itself to be valid and involving.
"Night effects" of the Third Millennium.(psychowave dark)

...to learn about this brilliant webzine click on the banner below

Interview 01/12/2002

What is the current The Sand line-up?

The Sand: At the moment “The Sand” is a one-man-band.
Well, I’ m the one to blame for music and lyrics.

Tell us a bit about your music background...

The Sand: My uncle gave me this musical background. He was used to play music to me since I was a little child: from the Rolling Stones to the The Sisters of Mercy and Sex Pistols through Depeche Mode. I was strongly influenced by rock music. I’ve learnt to play guitar consequently to Metallica’s very first works (as it was for most people of my generation). In time I changed my approach to songs, trying to merge my old taste for rock to Electro and new wave. Listening to masterpieces such as “Floodland” by The Sisters of Mercy and “Disintegration” by The Cure was a central experience in this evolution.

Is there any bands that are currently active that you like?

The Sand: The 69 Eyes, Theatre of Tragedy, Elusive,Tiamat (GREAT! I love them!), Rammstein, VNV Nation.

A lot of your songs are very introspective. Please tell our readers something about these…

The sand: There’s an autobiographic side as well as an imaginary one in each song. I just try to write what moves me, what touches my feelings.

Has “The memory of dead Romances” a "theme"?

The Sand: “The memory of dead romances” is a quote from “The picture of Dorian Gray” by Oscar Wilde. It well represents the main theme of this demo, that is the memory of something now lost, and the remorse you feel when you know you didn’t appreciate that something in the right way. These characters I put into my songs are always partially responsible for their own suffering. That’s the reason of the constant basic melancholy in my work.

If you could get one message across through your music, what would that message be?

The Sand: It’s not a wonderful life, but it’s not a problem anyway.”

Do you have a favourite song on the Demo?

The Sand: No, I like them all, each of them should be listened to in the right moment: when I’m pissed off I listen to A.M.I.P. or Samurai because these express my rage. Anyway, there are some of the songs I would have made better but you can’t keep changing the song on and on every time you listen to it, you have to give it an ultimate shape.

What do you think about “Gothic rock”?

The Sand: I don’t believe the term “Gothic rock” has never been right. I always preferred the label it was given to it in Italy and Germany, that is “Dark rock” since it’s closer to a more realistic point of view: Joy Division and Bauhaus talked about real problems: the impossibility to live in an human environment, the lack of love, the nullification of people in the name of Money…all this is not Gothic. Gothic tells of impossible romantic affairs, celebrates myths like vampires. These themes are intentionally decadent, are closer to higher classes. I try to put into music frustrations: the pain of living, lack of human understanding and those stupid things the Church is used to put in people’s minds. Among all this I try to give a little hope: the only thing left to do is react - with your will’s strength or with madness.

As a band is there anything in your history you would change?

The Sand: We always underestimated our capacities, we were too modest and not enough reliant in our songs.

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