Francisco Sazo's beginnings in music date back to the mid-1960s when, as a schoolboy in Quilpué, he formed together with his classmates the group called Los Sicodélicos, a group influenced by the British invasion of The Beatles and the Rolling Stones that tried to make a beat and psychedelic sound on the local scene and that in turn was more avant-garde by including Latin American elements.

With Sazo as lyricist and singer, and Tilo González as composer and drummer, one of the most important creative pairs in the history of Chilean music would be formed.

Between 1979 and 1983 he would travel to Belgium to study a postgraduate degree in philosophy, which together with the departure of Fernando Hurtado and Renato Vivaldi, would cause the band's first recess.

[3] In 1986 Sazo would return to the band and again they would take a more popular path, although always refined, with the album Estoy que me muero and then in 1989 with Para los arqueólogos del futuro, which would consolidate them as one of the most important musical groups in the Latin American sphere.

Thus, Sazo would be able to be the voice of a certain part of society that liked the musical art that for so many years was cut off from the general culture and could now be expressed with greater freedom and diffusion.

In 1992 Congreso would be evoked in the creation of two highly critically acclaimed concept albums; Los fuegos del hielo and Pichanga: Antipoems by Nicanor Parra.