With a sophomore album that surpasses their already remarkable debut, it seems the sky is the limit for these Chilean art-rockers.
Release date: July 15, 2026 | Amuleto | Bandcamp | Instagram
I have this feeling that listeners and publications from the rest of the world have only recently started to realise the amazing amount of talent that comes from the vibrant rock scenes of South America. For some, the album that marked this revelation was La Brea, the 2025 debut of the Chilean band Hesse Kassel: an 80-minute behemoth that sounded like a Spanish-speaking version of the so-called Windmill scene – practically a very sophisticated amalgam of post-rock, post-punk, noise rock and progressive rock music, with long saxophone parts and jazzy instrumentation. And while La Brea was the battering ram that tore the gates of the global audiences open, Morir Saltando bears the sound of triumph for Hesse Kassel; for it is an album that sounds even better than its predecessor, in every respect.
The most important improvement lies in the economy of the musical forms. Clocking in at a bit under 45 minutes, Morir Saltando cuts the fat of the debut and delivers a much more direct and to the point listening experience. This turns out to be an excellent strategic decision, with the music now sounding not only tighter but also more personal: gone are the similarities with Black Country, New Road (La Brea had a few identical parts), gone is the stylistic excess, gone are the lengthy instrumental parts. Hesse Kassel now feels more focused and refined, without compromising any of their eclecticism. At the same time, the energy levels are doubled and each one of the six tracks sounds rich and passionate.
Speaking of eclecticism: the 15-minute opener “Pornomiseria” contains everything you can imagine, from fuming post-hardcore to prog parts with flutes, and from noise-rock climaxes to jazzy theatricalities, without ever – ever! – losing its sharpness and intensity. A true masterpiece of a song that pretty much forces the listener to join in this wild ride, setting the tone for the entire record. The rest of the tracks, while significantly shorter, showcase the same playfulness between genres and ideas. Take “Sancho Plagio”, for example: here you may listen to a proper metalcore breakdown and the most delicious fusion part only a few seconds apart – and, yes, it makes absolute fucking sense.
We also have to approve of the sextet’s decision to actually let some of their collective post-hardcore roots free (check out their side project Cóclea if you dig this style). This makes them sound more urgent and energetic but also makes sense stylistically, since the band has a strong political voice lyrically. Unfortunately I do not speak Spanish. But we have seen the art of music breaking all barriers and bringing down all Towers of Babel that are meant to divide us, numerous times before. Therefore, even without understanding the words (although translator machines do a fine job), it’s hard to miss the anger and the urgency behind Renatto Olivares’ vocal deliveries. Using mostly spoken word and talk-singing techniques, the vocals lack some melodic possibilities but, on the other hand, they sound expressive and rightfully furious.
I could easily refer to outstanding moments of the album, like the metallic basic riff of “No Me Puedo Relajar”, the Latin jazz influences of the amazing “Mariposa” or the post-rock sensitivities of “El Reflejo”, but I think it’s better to experience it as a whole. Every member’s performance is spectacular, as is the mix and the arrangements. Besides Olivares’ leading role in the band – and maybe in the Chilean experimental rock scene in general, judging also by his solo works and Cicuta – I would also point out the amazing bass work of Matthew Hopper and the presence of Joaquín González’s keyboards, but make no mistake, the whole band is like a well-oiled machine. The intriguing mystery is that Hesse Kassel feels like an art-punk band but sounds and acts like an experimental prog rock one.
La Brea introduced Hesse Kassel as a collective with big potential and Morir Saltando already delivers a huge part of it. This is an inspired effort that feels like an unmissable rock album – in some ways it reminds me of Maruja’s Pain To Power but maybe it’s even better, at least for my personal taste. Powerful, progressive, sophisticated, fun, and highly engaging, Morir Saltando is an incredible piece of work that reveals a wide range of stylistic tools and a talented band that knows how to use them right; a work that makes fools out of genre-gatekeepers and ruins out of the towers that are meant to divide us!
Artist photo by Aramcitooo
