There are few bands like Sand. Borrowing from jazz, industrial, techno and post-punk, somehow everything is mixed up to produce some seriously bowel-shifting grooves. Their 1999 debut 'Beautiful People Are Evil' sees the York band still working on their formula which had been perfected by the time of 2002 follow-up 'Still Born Alive'. Nevertheless this record sets the tone for what was to come and takes more risks. Take the shock-tactic opener, 'Hello Mrs. Apple', switching between electro-minimalism and what appears to be Japanese film stars being tortured by industrial noise. 'Spell Pt 1' sees Sand understand how to swing eerily and by centrepiece 'Terminus' they nail their true vocation of intense, rhythmic jazz rock, augmented by a distant sombre trombone. Only the final two tracks bore, with a lazy late night vibe dominant. Everywhere else though, nasty and uncompromising are the key words.
There are few bands like Sand. Borrowing from jazz, industrial, techno and post-punk, somehow everything is mixed up to produce some seriously bowel-shifting grooves. Their 1999 debut 'Beautiful People Are Evil' sees the York band still working on their formula which had been perfected by the time of 2002 follow-up 'Still Born Alive'. Nevertheless this record sets the tone for what was to come and takes more risks. Take the shock-tactic opener, 'Hello Mrs. Apple', switching between electro-minimalism and what appears to be Japanese film stars being tortured by industrial noise. 'Spell Pt 1' sees Sand understand how to swing eerily and by centrepiece 'Terminus' they nail their true vocation of intense, rhythmic jazz rock, augmented by a distant sombre trombone. Only the final two tracks bore, with a lazy late night vibe dominant. Everywhere else though, nasty and uncompromising are the key words.
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