In 1995, the renowned Argentine rock trio Soda Stereo made a significant return to the studio after a three-year break to create a groundbreaking album titled Sueño Stereo (translated as Stereo Dream), marking their seventh and final project together. At that time, no one anticipated that this album would serve as the band’s farewell record. Its predecessor, Dynamo, showcased their most experimental and avant-garde work, representing a dramatic shift from their previous new wave style that had dominated the past decade. Sueño Stereo continued this journey of exploration, presenting an alternative album heavily influenced by British music, filled with electronic sounds and rich string arrangements featuring violins, cellos, and violas throughout many tracks.
The 1990s ushered in a new musical wave that contrasted sharply with the ’80s new wave sound that had originally propelled Soda Stereo to fame. As the alternative rock movement gained traction in the U.S. and Europe, it also resonated with an expanding audience in Latin America. Soda Stereo wholeheartedly embraced this shift, integrating the genre into their musical identity. After a decade filled with continuous work, releasing multiple albums, and touring across Latin America, the band chose to venture into experimentation, producing a genuinely progressive rock album that continues to receive accolades from fans and critics alike even 30 years later.
“Latin American rock DNA is partly based on a tremendous sense of inferiority because it always copied everything that was happening in England and the United States,” explains Ernesto Lechner, an Argentine music journalist who has resided in the U.S. since the 1990s, in an interview with Billboard. “However, Soda Stereo changed that dynamic completely.”
Soda Stereo revolutionized the landscape of Latin rock history through their innovative sounds and fearless exploration of diverse musical genres. This distinctive style would become the hallmark of lead singer Gustavo Cerati’s artistry, which he would refine further in his first solo album, Bocanada (released in 1999) after the band disbanded in 1997. Sueño Stereo, officially launched on June 25, 1995, ultimately emerged as the band’s magnum opus, symbolizing their artistic peak and legacy.
“Sueño Stereo is, for me, undoubtedly and without question, Soda’s best album,” Lechner asserts. “It stands out as a glorious record. A psychedelic rock album — an intriguing blend of electronic rock with elements of ambient music, showcasing a level of sophistication that is truly remarkable. It felt like a full circle moment for the band.”
“Sueño Stereo represents the final masterpiece, refined and perfected,” states Valeria Agis, editor of the Argentine newspaper La Nación, as she relays her thoughts to Billboard. This album was later ranked fourth by Rolling Stone in their list of the 10 greatest Latin rock albums of all time in 2012, solidifying its status in music history.
The journey of Sueño Stereo commences with the alternative rock hit “Ella Usó Mi Cabeza Como un Revólver,” a melancholic and intricate track that features an exquisite string arrangement of viola, violin, and cello. A significant musical evolution is evident in tracks like “Disco Eterno” and “Zoom,” two neo-psychedelic pop-rock songs that have since become classics within the band’s extensive repertoire.
As the album progresses, the influence of The Beatles becomes increasingly pronounced in the Britpop-infused tracks “Paseando Por Roma” and “Ojo de la Tormenta.” The album concludes with a surprising transformation in its final three songs, which are instrumental tracks that blend psychedelic elements with electronic sounds, creating an unforgettable listening experience.
For Soda Stereo’s bassist Zeta Bosio, this album was pivotal in his personal recovery. Just a year prior to the album’s release, his two-year-old son, Tobías, tragically died in a car accident. “That was the album that helped me come back to life a little, back to reality,” he recalls in an interview with Billboard. Furthermore, it served to unite the band, allowing them to create a cohesive musical organism where they could intuitively understand each other’s artistic impulses.
Drummer Charly Alberti shared similar sentiments. He emphasized that the album showcased the trio at an exceptionally high musical level, stating, “Everything came together very organically for us.” This collaborative synergy contributed to the album’s unique sound and enduring appeal.
Cecilia Amenábar
Within just 15 days of its launch, Sueño Stereo achieved platinum status, establishing itself as an immediate sensation in Argentina and across Latin America. However, two years later, the band made the monumental decision to conclude their 15-year journey together with the farewell tour titled El Último Concierto (translated as The Last Concert), culminating in a final performance at the iconic Estadio Monumental in Buenos Aires. This unforgettable event not only produced a live album and DVD but also immortalized Cerati’s iconic phrase “Gracias totales,” which translates literally to “total thanks” but carries a deeper significance in the cultural context.
Following the band’s split, Cerati dedicated time to pursuing personal projects. In 1999, he released Bocanada, which he regarded as his official solo debut, despite having previously put out two albums during Soda Stereo’s hiatus prior to Sueño Stereo. In this context, Bocanada, which translates to ‘breath’ or ‘puff,’ serves as a metaphor for a “new breath of creativity,” as Cerati expressed that the songs came to him effortlessly.
In 2007, Soda Stereo reunited for the highly anticipated Me Verás Volver Tour (translated as You Will See Me Return), which took them on a remarkable journey across Latin America and several states in the U.S., including Florida and California. The tour kicked off and concluded at the River Plate stadium, Buenos Aires’ largest venue, with a staggering six sold-out nights, exceeding their success from 1997.
Plans were underway for additional shows, including a performance in Spain, a market they had never fully conquered. According to Bosio, the opportunity remained open for further exploration with the band. “The music was still intact. It felt like we were entering a new phase of maturity and beginning to understand things differently,” he reflects. “However, being Soda Stereo always came with immense pressure, particularly for Gustavo, who was the primary songwriter.” [But]
Tragically, in 2010, Cerati suffered a stroke after completing a concert in Caracas, Venezuela, while promoting his last solo album, Fuerza Natural. He remained in a coma until his passing on September 4, 2014, at the age of 55, leaving a profound impact on the music world.
However, it was Sueño Stereo that laid the groundwork for the artistic evolution that followed. This album did not signify an end; instead, it marked the dawn of a new sound that continues to resonate 30 years later, showcasing the timeless relevance of its musical innovations.
“One of our primary goals for this album was to adopt a subtractive approach,” Cerati explained, as referenced in the book Cerati en Primera Persona (translated as Cerati in First Person) by Maitena Aboitiz. “We aimed to pull back a bit—not to diminish our presence but because we felt there was no need to keep repeating ourselves.”
As a solo artist, Cerati enjoyed the freedom to explore his artistic vision without constraints. With Soda Stereo, the musical explorations that began with Dynamo and reached their zenith with Sueño Stereo culminated in one of their most significant contributions to rock music, influencing countless artists throughout Latin America and beyond for years to come.
