1 de agosto de 2016


It’s hard not to reference Popul Vuh while attempting to describe the effect of the opening moments of Kosmodynamos, but that’s no bad thing at all. The chime of bells, an evolving ripple of flute, Michel Leroy and Alberto Parra‘s cycling clean guitar strings which coalesce in a slow percussive parade — all hold the same pregnant promise of Florian Fricke‘s singular, almost holy, vision. However, despite the affinities, and there are many, Un Festín Sagital present here four tracks of ritual music for space cadets which proceed, slowly but surely, to blow the tiny braincells of the listener by many and several different means.
a spectacular place where a lightshow explodes like a far-distant star
So while the mood is often expansive and even mellow, there are little bursts of rapid-fire mania to keep the listener alert; like when a jazzy improv shuffle flickers into life during “A la Deriva. El Jardín de los Delirios.” This avant-gardism could have many outcomes, but blossoming into Magma-ish flourishes before a frantic descent into screaming in tongues is always an interesting option.
The real action unfurls from the farthest reaches of space and time immanentises in the form of “Bajo un Sol Inclemente,” where the flute joins a camel-loping groove of steady percussion and flanged guitars in a stirring combination of soaring melody and insistent rhythmic interplay. It’s as the hypnotic rounds burst into a gloriously monumental chorale that the album finally lifts off, bound briefly for a spectacular place where a lightshow explodes like a far-distant star brought into glimmering proximity, but which can only endure for a shining moment before folding back softly into bells, flute and a silent termination.
-Linus Tossio-


This South American blackened dark-prog doom-noise psychedelia collective holds the distinction of having been the very first, and to this day only, CASSETTE Record Of The Week. And at the time, we were so blown away, we really had no choice, everything about Un Festin Sagital pushed all of our (and presumably your) buttons, occult prog metal meets creepy black ambient soundscapery, haunting minimal moodiness meets, propulsive post punk crush, howling metallic heft meets gently psychedelic folkiness, all wound up into one dizzying tangle of heady heaviness. Since then, we've dug deeper into the bands catalog, with much help from local label Black Horizons, who brings us yet another amazing collection of the group's tripped out sound, this one not that far removed from the others, if anything more of an extension, the sound sprawling and expansive, the opener especially, the group slipping into something more space rocky and dreamy, sounding almost like something you might expect to hear on Cardinal Fuzz, loping sinewy basslines, clouds of cymbal shimmer, fluttering flutes, minimal percussion, almost like a jazzier, soundtrackier Spacemen 3, hazy and hypnotic, before the sound builds to some seriously lysergic heavy psych, billowing clouds of FX drenched melodies, the drums more driving, eventually swathed in some seriously caustic noise guitar crunch. Holy shit, fans of the Heads and Carlton Melton and White Hills and all the rest, you might just want to check out these weirdos too.
Cuz goddamn if the rest of the record doesn't fall in line, the second track two, laying down a dark, motorik groove, wreathed in sonic swirls, and with a huge krautrock vibe, again, following that tried and true space rock sonic template, the sound eventually building to a wild freak out, but instead of straight up shred, it's all wild scrabbly tangles, and distorted chugs, roiling piano rumbles, scalding arcs of white noise psych swirl, seriously epic space/psych rock for sure. But these guys are NOT space rockers, they just happen to do it better than most. So there's plenty of other mysterious moodiness happening. The sound devolving into some churning slo-mo-doom, still folk flecked, a cinematic sprawl that lurches from noisy crashing pummel, to hushed whispery drift, the whole second half sounding like the score from some lost Italian seventies giallo. From there on out, the band whip out some mathy stop start post punk angularity, more distortion drenched spaciness, some groovy organ soaked fusiony prog-jazz, again pocked with bursts of wild distorted noise rock crunch, until finally, things finish off with the epic 21 minute title track, the unfurls like the bastard child of all those space rock bands we love, the usual zoner drift, is transformed into what sounds like 3 or 4 bands playing at once, a frenzied cacophony, somehow held together but a buried rhythm section, the end result a sort of kraut-noise, that about halfway through settles into one final stretch of noisy, motorik kraut-prog mesmer, psychedelic and hypnotic, and really fucking great.
As with all the Black Horizons tapes, super fancy packaging, this time an 8 panel J-card, silver metallic ink on green matte paper, inside a folded up mini-poster/insert, and as always, LIMITED TO 100 COPIES.

17 de noviembre de 2015

Un Festín Sagital & Lars Tängmark – "Cortex post​-​corteza post​-​cell"

(click to enlarge)

This is an exclusive mix for the digital version of this album, different from the one that will be on a upcoming CD and tape edition. Recorded in 2015 in Chile and Sweden. Released on November 5, 2015. Artwork by NUR.

Lars Tängmarksynths, samplers, field recordings, loops and voice
Michel Leroy—drums, electric guitar, analogue effects, piano, keyboards, violin, field recordings and voice
Horacio Ferro—bass on track 2
Sebastian Concha—field recordings and voice on track 2

29 de septiembre de 2015


Moesta et Errabunda review by Rockaxis

Un Festín Sagital es una de las bandas más intensas y originales del rock experimental surgido en Chile en los últimos años. Si bien no son particularmente conocidos (digamos, comparado con bandas relativamente similares como Föllakzoid o Akinetón Retard), sí han conseguido un interesante apoyo fuera del país, logrando ser editados por sellos de música divergente, como Beta-Lactam Ring Records y Black Horizons. Incluso veteranos de la experimentación como Edward Ka-Spel (Legendary Pink Dots) y Aranos (Nurse With Wound) han colaborado con la banda.

Surgidos en la camada experimental que azotó Santiago a comienzos del 2000 -los inicios de la Productora Mutante y los legendarios ciclos F. O . B . I . A.-, Un Festín Sagital ya ha pasado diez años entregando una inagotable producción sonora, en discos como “Kosmodynamos”, “Bestias Solares”, “Sic Deus Dilexit Mundum” y “Epitafio a la Permanencia”, a los que se suma este “Moesta et Errabunda”, su primer EP, y que es un concentrado de intensidad sonora que no deja a nadie indiferente.

"Moesta et Errabunda" es una colaboración de la banda con el canadiense James Hamilton (ex-Preterite, entre una decena de proyectos más) y el misterioso e incógnito proyecto avant-noise Armchair Migraine Journey (sólo se sabe que es un alemán radicado en USA). La edición física editada por Beta-Lactam Ring Records, es en el inusitado formato de disco hibrido, que por un lado es un cedé de 20 minutos, y por el otro, un vinilo de 3 minutos.

El disco comienza seguro y oscuro con "Deimos II", un tétrico viaje de ocho minutos (Deimos de hecho significa miedo en griego), en donde la electrónica prog-industrial se rodea de un órgano, piano y una eventual guitarra distorsionada, todo compuesto con fina precisión. La progresión armónica es un verdadero placer demoniaco. La música “sagital”, si bien es extraña, ruidosa y disonante, no cae en el cliché de la vanguardia abstracta, sino que por el contrario, los desmadres sónicos siempre tienen un tinte visceral más que intelectual.

Esta rupturista intensidad emocional, se colorea con la segunda parte del EP. En el tema “Éxtasis”, el cruce de ruidos-disonancia-armonía, llega a un clímax emocional, intensificado por el cruce de flauta traversa (Constanza Lagos) y mellotron (James Hamilton). En el siguiente -y último- tema, la dulzura es transgredida por una actitud más primitiva y ruidosa, como un rudo "volver a tierra". Este tema, llamado "Acéfalo II", trae indudables remembranzas de Throbbing Gristle y Coil, pero llevados a un plano más de ruido duro (Merzbow), que, sin embargo, contrasta con la sutileza acústica del kemece o violín turco de James Hamilton, que se enfrenta melódicamente al mar de acoples y distorsiones que se intensifican a la medida que la canción continúa su curso. Un explosivo final, para un EP corto pero conciso, donde la policromía no implica un pegoteo forzado, sino un camino fluido, que se escapa constantemente del fetichismo estético.

Un Festín Sagital es una banda que merece más atención de la que tiene, pues posee los elementos necesarios para considerarse un proyecto relevante de la experimentación musical en Chile. Sus discos se desmarcan de cualquier encasillamiento, y no por ser experimentales carecen de un sonido que denota trabajo y dedicación. Básicamente logran mostrar seriedad y profundidad, sin perder espontaneidad y riesgo. Información en www.unfestinsagital.com y www.blrrecords.com

—Pablo Valdivia (Rockaxis)

Etna review by Hijos de Saturno

Etna could be considered, without doubt, the easiest point of entry to Un Festín Sagital's discography. On the one hand, its sound, without leaving the band's experimental vocation behind, ventures without fear into the exploration of psychedelic, lethargic landscapes; a trip that puts the album among UFS' most digestible works.

But what's interesting about the album is not only its accessibility. On the other hand, the combination of this space facet with Un Festín Sagital's more habitual avant-prog makes Etna an entertaining, well-conceived album, with a compositional quality at the level of the other releases of the band and a stronger performance than ever. Although eclectic, it has its own spirit and each track fits perfectly in its place, contributing from a particular flank to the developing of an hypnotic, gripping atmosphere. The album wanders without difficulty between lysergic pieces such as "Árboles Negros" (a song that had been recorded before) or "Anubis: Sueño y Muerte", the kraut of "Lakonn" and the intense "Etna", and the more experimental passages of "Acéfalo" or the cryptic "Asesino del Sol III", closer to Festín's distinctive avant-prog.

Etna perfectly summarizes the fact that Un Festín Sagital can explore anywhere they want without stumbling, always reaching outstanding results. Their discography as a whole is a living proof of that, and Etna constitutes one of the key pieces within that exceptional binnacle. Another must-hear Un Festín Sagital album.

—Ignacio MF. (Hijos de Saturno)

Un Festín Sagital / Armchair Migraine Journey – Habitando la Fisura

(clic para agrandar)

Habitando la Fisura busca reflejar ese sentimiento de resistencia periférica y marginal, que muchos seres vivos sufren y gozan, en contraste a ese monstruo indolente e invencible que es "la humanidad". Su título fue inspirado por un escrito de Gonzalo Díaz del mismo nombre.

En memoria de Fernando Valdivieso y Cristóbal Cornejo.

Grabado y mezclado en Chile, Rusia y USA, entre el invierno y primavera de 2015. La imagen de portada es obra de Flo Alaï: fotografia de una niña llamada Ywayra, tomada en Yolosa, zona de yungas, Bolivia.

Este disco será editado a fin de año en caset estándar via ETCS Records (Chile) y después en una edición híbrida de CD/vinilo a través de Beta-lactam Ring Records (EEUU) (cada edición tendrá mezclas y material exclusivo).

Michel Leroy—guitarras de 12 cuerdas, eléctrica y acústica preparada, piano, efectos, voz, mezcla y master
Alisa Slimani—guitarra eléctrica y voz
Armchair Migraine Journey—sintetizador modular y theremin