Chilean band based on brothers Patricio, Sergio and Fernando González Morales, who in 1964 founded some folk-pop bands as “Los Stereos”, “Shadows” and “Los Masters”. When Pancho Sazo joined them in 1969, the band finally called themselves “Congreso”. Later some chilean important musicians as Joe Vasconcellos or Jaime Vivanco played on the band. l…………..
“Terra Incognita” is a testimony of two faces. On the one hand, the healthy sample of the first steps of CONGRESS in a collection of fresh songs whose importance was limited by the hydronic moment in which they were born. The other side is just the underground portrait of that moment, one of the hardest in Chilean history. “It happens that I’m getting sad / it happens that I get tired of laughing / Nothing new I see in the morning / In your eyes yesterday” says ‘Vuelta y Vuelta’, a hymn to the sadness that for years flooded the lives of thousands of Chilean, and that perhaps is the most classic subject of his discography.
Francisco SAZO and Sergio GONZÁLEZ, along with the older brother of this last one, Fernando, were the creative axis of this disc, and almost all the songs correspond to its authorship. These compositions were created between 1973 and 1975, and whose recording was delayed a couple of years by virtue of the situation that Chile lived under the dictatorship. Persecuted artists, proscribed music and curfew acted as the backdrop to this album, the second long-running CONGRESS. Their songs contain that same euphoria and sadness.
No more than a thousand copies were pressed of “Terra Incognita”, which owes its name to Latin America, CONGRESO’s main source of inspiration. Like Los JAIVAS, the band came from rock, but its musical substrate expanded onboard the music of the continent. That’s why there are tarcas, charangos and quenas in the middle of guitars and an electric bass. The language of the fusion gave its initial steps here.
An old man looking for gold, drawn by Fernando GONZÁLEZ with a chicken pen, illustrates the cover of “Terra Incognita”, whose conception was determined by Latin American inspiration, the hostility of the environment and the lack of diffusion. But the songs managed to transcend their historical context, as evidenced by the fact that many of them have been rewritten in later records. 'Song of the Veronica’, 'Romance’, 'Los Maldadosos’ and, of course, 'Vuelta y vuelta’ are topics that have appeared again in the discography of CONGRESO, and which often sound in their presentations. From the melancholy of 'Where will you be?’ To the instrumental energy of 'In Rio I lost my voice’, the freshness remains intact. That wind that unleashed CONGRESS in 1975 still continues to blow………………
It was 1975. Many who now read this review were not born or were very small. Little did they know about this album that saw the light after two years of having started recording. The country was another and this dyed this second disc of one of the transcendental bands of the history of the recent Chilean music. Recall that artistic production would be placed under surveillance and distribution and dissemination was subject to open censorship. That is why this album is relevant, because it was heard and because, in the artistic, it corresponds to a turn of Congress towards the popular content and made a poetry loaded with a rarified message, anchored to the sound of Latin American roots. “Donde Estarás”is a kind of tune and underwear that mixes harmoniously the Nordic instruments, in a soft dance that extends throughout the subject. “Romance” is a conjunction of quieter times and harmonies. “Los Maldadosos” has an interesting set of textures in the intro, characteristic of the band. It seems a rhythm dedicated to those who always make a prank; Cymbals dictating the melody that, to the minute, changes and is oriented towards the joy and the dance; The end is very beautiful, with a message loaded with emotion. “Verónica’s song” is very emotional, sung with feeling for Sazo and accompanied only a couple of instruments that barely point the way to the subject.
“El Torito” retakes the joy, sound the flutes, panpipes, and charangos. “Tus Ojitos” is a beautiful creation; Follows the pattern of the previous ones in terms of a quick start, giving way to the voice of Francisco Sazo as the protagonist of the theme accompanied, background, with a soft guitar and flute. “Game” is different from the others as it has more strings, guitars more tearful towards the middle of the subject. “Kenite and Violin” are pure powerful melodies, transported from the north by force of pure instrumental interpretation.“Vuelta y Vuelta” is more sinuous, slower at the beginning, with a lethargic song that goes up to the compass of the charango; A beautiful theme in its composition and evolution. “In Rio I lost the Voice” enters with joy, with many melodies, mixing the guitars with the flutes, the drums with harps and instruments of the north, in perfect balance. “Song of Wedding” is another beautiful message, that narrates that special day for several; Close to the Chilean tune, perfectly accompanied by this creative orchestra. “Song of Rest” is more sedate in its melody, soft blows to the drum and a soft keyboard. “The Opportunist” has more accelerated pace, something more rock, leaving a little side of the nortino. And “Between the Simple People” tells us to believe in life and truth to the rhythm of a soft choir, flutes and tambourines.That’s how, in just over 40 minutes, you have an essential melodic review in the group’s discography, with much use of color, given in large measure by the important amount of altiplano instruments that paraded for each theme. “Terra Incógnita” is important because it was unique in its time (where there were almost no productions) and also by the testimony that it delivers. Before the news of its reissue we wanted to rescue this jewel that reflects a moment and a context of a very difficult Chile and also because it is an almost foundational disc of what we would know later as new song………….. Músicos: Francisco “Pancho” Sazo - voz, flauta, rondador Renato Vivaldi - flauta, rondador Fernando González Morales - guitarras Fernando Hurtado - baixo/bajo, coro Patricio González Morales - cello, guitarra Sergio “Tilo” González Morales - bateria, percussão/percussión, guitarra, piano Patricio Acuña - charango
Tracklist ¿Dónde Estarás? Romance Los Maldadosos Canción De La Verónica El Torito Tus Ojitos Juego Quenita Violín Vuelta Y Vuelta En El Río Perdí La Voz Canción De Boda Canción Del Reposo