HESSE KASSEL

Hesse Kassel is another Chilean band that released its debut in 2025, alongside Chercan. They bring a splash of color to the often repetitive sounds of some progressive bands, offering freshness and a high level of musicianship. Hesse Kassel is a hard-to-classify group and a source of pride for Diego Portales University. Formed in Santiago in late 2022, the band consists of six members: Renatto Olivares (guitar, saxophone, vocals), Luca Cosignani (guitar, vocals), Mauricio Rosas (guitar), Matthew Hopper (bass), Eduardo Padilla (drums), and Joaqu'n Gonz'lez (keyboards, backing vocals).

A big part of what makes this band special is Renatto Olivares. His vocals are stunning'emotional, raw, and dynamic'often shifting between tenderness and intensity with natural ease. His guitar work is just as vital, cutting through or weaving into the mix exactly when needed. And when the saxophone appears, it's not just a novelty'it's perfectly placed and tastefully arranged, adding texture and depth without ever feeling forced. His versatility gives the band much of its emotional and sonic range, and his presence is felt on nearly every track.

Their debut album, La Brea, has received critical acclaim for its ambitious and emotionally charged compositions. It features eight expansive tracks'including 'Postparto,' 'Anova,' and 'Yo La Tengo'' marked by dynamic structures that move from discordant tension to euphoric release. The lyrics use a present, direct tone and explore sensitive themes like sexuality, adolescence, love, poverty, and identity. The production isn't perfect, but it fits the music well and contributes to the album's overall feel. The cover art is intriguing, beautiful, and mysterious'much like the music itself.

I never expected a clash of two Chilean bands at such a high level, much less that I'd be writing about them. Chile is a complicated country when it comes to music. It's not hard to record an album here'but it's hard to get noticed, especially if you're not making urban music, trap, cumbia, or reggaet'n. That's why I think what these guys are doing is truly commendable and deserves more exposure and recognition.

La Brea is a weird album, in the best sense of the word. It never lets you get fully comfortable, even in its most comforting moments. And that's a strength. It achieves something rare: it moves from lament to rage to peace, evoking a wide range of sensations through intricate musical work. It reminds me of many things, but I don't feel the need to classify or categorize it. If I had to name a reference, I'd point to 'Viva Chile! (1986), the debut masterpiece by Chilean legends Electrodom'sticos'just to give you a rough idea. At times, the band also approaches the monumental scale of Swans' The Seer (2012). That comparison isn't made lightly'it's just to help you imagine the intensity and ambition at play.

The album opens with 'Postparto,' a tense, mantra-like piece that sets the emotional tone. 'Anova' follows with ambient textures and sharp social commentary. 'Americana' stands out for its improvisation and shifting intensity. 'En Tiempo Muerto' leans toward jazz, with brilliant guitar work. 'Moussa' showcases the band's full power, moving between chaos and calm. 'Vida en Terranova' is cryptic and emotional, ending with an open wound. 'A. Latur' blends jazz fusion and folk, while 'Yo La Tengo' closes the album with raw emotional weight'it's the loosest track structurally, but also one of the most powerful.

This is an amazing record. Not perfect, but great. Possibly one of the best albums released this year. It's not for everyone'it's challenging, complex, and deeply emotional. But if you're into avant-garde, post-metal, dissonance, or just music that pushes boundaries, this is worth your time. I may be biased, but even so, La Brea stands out as an extremely interesting and important addition to any serious music collection.