Rightfully, Bocanadawas an instant classic, an alternately optimistic and melancholic move toward bolder pop planes with each track. Once free of the expectations that came with the group, Cerati went into a self-imposed sabbatical, constructed a studio in his Buenos Aires apartment, and recorded 1999's Bocanada. That still-inexplicable breakup remains a mystery, however. Who cares if he had forever changed Latin alternative? His intent was to change the planet. But like Enrique Bunbury–head of seminal prog.-rock Spaniards Héroes de Silencio–Cerati was too restless and frustrated to continue the pioneering band. Rumors persist as to why Cerati destroyed the group–no one accepts that Cerati would throw away the world for the dangers of a solo career.
Guitars, synthesizers and drums no longer sufficed for Latinos, who followed the charge of Soda Stereo en masse to embrace electronic music as an ally rather than adversary.Īnd then, the deluge: Cerati ended Soda Stereo. Because of Soda Stereo, Latin American pop/rock groups no longer gazed longingly after the colossuses of the north (the United States) and across the pond (Great Britain) for musical inspiration they now searched within and across their own continent.
Soda Stereo maintained its status at the forefront of the Latin-alternative scene for several more years when American critics began embracing the genre (and the group) as music's most promising. And Soda Stereo didn't limit their innovations to sound, either–other groups mercilessly ripped off the baroque aesthetic of the video for Sueño Stereo's first single, the Revolver-inspired (and awesomely named) “Ellá Usó Mi Cabeza Como un Revolver” (“She Used My Head Like a Revolver”), obsessed with the mini-matinee's tableaux of protagonists dressed as vortexes. Album after album introduced more and different instruments, chord progressions and philosophy-stretching lyrics to the genre their 1995 release, Sueño Stereo, soared over U2-esque rancor with humanistic electronic touches and brazen hooks that every Latin-alternative group quickly copped. First an Argentine phenomenon, then the South American nation's finest non-soccer export, then–by the early '90s–one of the first Latin American rock bands to fascinate Anglo ears, the Cerati-led trio had, over the course of a decade, expertly guided Latin-alternative music in epic directions. The rock en español galaxy sputtered a collective gasp of disbelief in 1997 when Gustavo Cerati dissolved Soda Stereo.
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