A 1999 track for a time that continues to destroy lives
There are compositions born within a specific era that remain bound to it forever. And then there are others which, decades later, return to speak to us—not because they are “classics,” but because the world obstinately continues to reproduce the same forms of violence.
Cry of the Sand belongs to this second category.
The piece was composed in 1999. Yet, listening to it today, it does not appear as a relic of the past. On the contrary: it retains a painful relevance. Not because it predicted anything prophetically, but because wars, tyrannies, oppressions, and massacres continue to devastate the lives of millions of human beings.
The concept: war as a fracture of memory and of the human
The core of Cry of the Sand is not the description of a specific conflict, nor a simple moral denunciation of war. Its concept is more radical and more internal: to give sonic form to a fracture.
Fracture of the sky. Fracture of memory. Fracture of childhood. Fracture of the human.
In this piece, war is not treated as a geopolitical event or as a tragic spectacle to be observed from a distance. It is perceived as a laceration that enters bodies, sounds, memories, the eyes of children, and the very fabric of consciousness.
For this reason, Cry of the Sand seeks no reconciliation. It offers no peaceful synthesis. It does not console. It is, instead, a secular lament—a cry transformed into musical structure.