Sagat
Silver Lining
Boomkat Product Review:
Grittily satisfying debut LP of leftside club mechanisms by Belgium’s Sagat, pitched somewhere between Mobbs’ crepuscular downbeats and beyond-the-bassbin experiments of Actress, Lukid or the Youth label
Returning satellite-like on a ten year orbit from their early albums on Vlek, Sagat follows a hunch for cranky grunge and groove with increasingly immersive results on their first full length record after a handful of singles/EPs over the years. Gloaming with a sense of lowlands gothic, but likewise lit with threads of noctilucent synth and bleep noise, ‘Silver Lining’ is a right one for the night gazers with the sort of tone and underlying abstract narrative that lends itself to the later hours.
The vibe is Stroom-adjacent, but also distinctly a work of the past decade, gradually unfolding its charms from the title track’s bittersweet nosedrip tone along a killer lien of logdrum-beaten dembow rhythm and chamber string slashes on ‘Low Blood’ and the pitch-bent 2-step of ‘Way Down’, to Metal Preyers-like rhythmelody of ‘Chroma’ and cranky ritualism of ‘Eyes Open’ on the A-side.
B-side it feels to congeal and intensify the groove with his below-the-belt slugger ‘Rest’ going like a Andy Stott after too many Duvels, and triggering a more buoyant 2nd half of Detroit or Kassem Mosse-like beatdown in ‘Club Gone’, that leaches into its almost Levantine strutter ‘Levels’, the gaunt structure of ‘Corner’ and the compressed, smoke-rippling techno thrum of ‘The Other Left’.
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Boomkat Product Review:
Grittily satisfying debut LP of leftside club mechanisms by Belgium’s Sagat, pitched somewhere between Mobbs’ crepuscular downbeats and beyond-the-bassbin experiments of Actress, Lukid or the Youth label
Returning satellite-like on a ten year orbit from their early albums on Vlek, Sagat follows a hunch for cranky grunge and groove with increasingly immersive results on their first full length record after a handful of singles/EPs over the years. Gloaming with a sense of lowlands gothic, but likewise lit with threads of noctilucent synth and bleep noise, ‘Silver Lining’ is a right one for the night gazers with the sort of tone and underlying abstract narrative that lends itself to the later hours.
The vibe is Stroom-adjacent, but also distinctly a work of the past decade, gradually unfolding its charms from the title track’s bittersweet nosedrip tone along a killer lien of logdrum-beaten dembow rhythm and chamber string slashes on ‘Low Blood’ and the pitch-bent 2-step of ‘Way Down’, to Metal Preyers-like rhythmelody of ‘Chroma’ and cranky ritualism of ‘Eyes Open’ on the A-side.
B-side it feels to congeal and intensify the groove with his below-the-belt slugger ‘Rest’ going like a Andy Stott after too many Duvels, and triggering a more buoyant 2nd half of Detroit or Kassem Mosse-like beatdown in ‘Club Gone’, that leaches into its almost Levantine strutter ‘Levels’, the gaunt structure of ‘Corner’ and the compressed, smoke-rippling techno thrum of ‘The Other Left’.
Boomkat Product Review:
Grittily satisfying debut LP of leftside club mechanisms by Belgium’s Sagat, pitched somewhere between Mobbs’ crepuscular downbeats and beyond-the-bassbin experiments of Actress, Lukid or the Youth label
Returning satellite-like on a ten year orbit from their early albums on Vlek, Sagat follows a hunch for cranky grunge and groove with increasingly immersive results on their first full length record after a handful of singles/EPs over the years. Gloaming with a sense of lowlands gothic, but likewise lit with threads of noctilucent synth and bleep noise, ‘Silver Lining’ is a right one for the night gazers with the sort of tone and underlying abstract narrative that lends itself to the later hours.
The vibe is Stroom-adjacent, but also distinctly a work of the past decade, gradually unfolding its charms from the title track’s bittersweet nosedrip tone along a killer lien of logdrum-beaten dembow rhythm and chamber string slashes on ‘Low Blood’ and the pitch-bent 2-step of ‘Way Down’, to Metal Preyers-like rhythmelody of ‘Chroma’ and cranky ritualism of ‘Eyes Open’ on the A-side.
B-side it feels to congeal and intensify the groove with his below-the-belt slugger ‘Rest’ going like a Andy Stott after too many Duvels, and triggering a more buoyant 2nd half of Detroit or Kassem Mosse-like beatdown in ‘Club Gone’, that leaches into its almost Levantine strutter ‘Levels’, the gaunt structure of ‘Corner’ and the compressed, smoke-rippling techno thrum of ‘The Other Left’.
Boomkat Product Review:
Grittily satisfying debut LP of leftside club mechanisms by Belgium’s Sagat, pitched somewhere between Mobbs’ crepuscular downbeats and beyond-the-bassbin experiments of Actress, Lukid or the Youth label
Returning satellite-like on a ten year orbit from their early albums on Vlek, Sagat follows a hunch for cranky grunge and groove with increasingly immersive results on their first full length record after a handful of singles/EPs over the years. Gloaming with a sense of lowlands gothic, but likewise lit with threads of noctilucent synth and bleep noise, ‘Silver Lining’ is a right one for the night gazers with the sort of tone and underlying abstract narrative that lends itself to the later hours.
The vibe is Stroom-adjacent, but also distinctly a work of the past decade, gradually unfolding its charms from the title track’s bittersweet nosedrip tone along a killer lien of logdrum-beaten dembow rhythm and chamber string slashes on ‘Low Blood’ and the pitch-bent 2-step of ‘Way Down’, to Metal Preyers-like rhythmelody of ‘Chroma’ and cranky ritualism of ‘Eyes Open’ on the A-side.
B-side it feels to congeal and intensify the groove with his below-the-belt slugger ‘Rest’ going like a Andy Stott after too many Duvels, and triggering a more buoyant 2nd half of Detroit or Kassem Mosse-like beatdown in ‘Club Gone’, that leaches into its almost Levantine strutter ‘Levels’, the gaunt structure of ‘Corner’ and the compressed, smoke-rippling techno thrum of ‘The Other Left’.
Double LP.
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Boomkat Product Review:
Grittily satisfying debut LP of leftside club mechanisms by Belgium’s Sagat, pitched somewhere between Mobbs’ crepuscular downbeats and beyond-the-bassbin experiments of Actress, Lukid or the Youth label
Returning satellite-like on a ten year orbit from their early albums on Vlek, Sagat follows a hunch for cranky grunge and groove with increasingly immersive results on their first full length record after a handful of singles/EPs over the years. Gloaming with a sense of lowlands gothic, but likewise lit with threads of noctilucent synth and bleep noise, ‘Silver Lining’ is a right one for the night gazers with the sort of tone and underlying abstract narrative that lends itself to the later hours.
The vibe is Stroom-adjacent, but also distinctly a work of the past decade, gradually unfolding its charms from the title track’s bittersweet nosedrip tone along a killer lien of logdrum-beaten dembow rhythm and chamber string slashes on ‘Low Blood’ and the pitch-bent 2-step of ‘Way Down’, to Metal Preyers-like rhythmelody of ‘Chroma’ and cranky ritualism of ‘Eyes Open’ on the A-side.
B-side it feels to congeal and intensify the groove with his below-the-belt slugger ‘Rest’ going like a Andy Stott after too many Duvels, and triggering a more buoyant 2nd half of Detroit or Kassem Mosse-like beatdown in ‘Club Gone’, that leaches into its almost Levantine strutter ‘Levels’, the gaunt structure of ‘Corner’ and the compressed, smoke-rippling techno thrum of ‘The Other Left’.
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