{"id":1160,"date":"2025-10-17T19:36:49","date_gmt":"2025-10-17T19:36:49","guid":{"rendered":"https:\/\/elbatiscafo.com\/?p=1160"},"modified":"2026-01-25T16:37:01","modified_gmt":"2026-01-25T16:37:01","slug":"dynamo-de-soda-stereo-el-pilar-del-shoegaze-latinoamericano","status":"publish","type":"post","link":"https:\/\/elbatiscafo.com\/index.php\/2025\/10\/17\/dynamo-de-soda-stereo-el-pilar-del-shoegaze-latinoamericano\/","title":{"rendered":"Dynamo de Soda Stereo: el pilar del shoegaze Latinoamericano"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><strong>Tras el \u00e9xito de <em>Canci\u00f3n Animal<\/em> (1990)<\/strong>, Soda Stereo ya se hab\u00eda consolidado como una de las bandas m\u00e1s influyentes de Latinoam\u00e9rica. Sin embargo, <strong>lejos de acomodarse en el estilo que los llev\u00f3 al estrellato, el tr\u00edo argentino se embarc\u00f3 en la b\u00fasqueda de nuevos pulsos.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8220;Decidimos cambiar de rumbo porque lleg\u00f3 un momento en que <strong>no quisimos seguir inflando m\u00e1s al monstruo que hab\u00edamos creado&#8221;<\/strong>. Cerati en <em>Soda Stereo: La biograf\u00eda total<\/em>, libro de Marcelo Fern\u00e1ndez Bitar.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As\u00ed nace <strong><em>Dynamo<\/em> (1992)<\/strong>, el \u00e1lbum que no s\u00f3lo redefine la trayectoria de la banda, sino que <strong>marca el punto de inflexi\u00f3n para la movida s\u00f3nica argentina<\/strong>, abrazando las vanguardias del <em>shoegaze<\/em>, el <em>dream pop<\/em> y el <em>noise rock\/pop<\/em> que hab\u00edan florecido en el valle del T\u00e1mesis con bandas como The Jesus and Mary Chain y Cocteau Twins.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Dynamo 1992<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">El contexto que rode\u00f3 el lanzamiento de <em>Dynamo<\/em> estuvo marcado por factores que limitaron su alcance. <strong>En medio del cambio discogr\u00e1fico de Sony a BMG, ni una de las disqueras se encarg\u00f3 de promocionar el disco adecuadamente<\/strong> y aquellos que tuvieron la oportunidad de escucharlo lo encontraron complejo y lejos de ser digerible.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La propuesta est\u00e9tica de <em>Dynamo<\/em> fue tan moderna como su sonido. Charly Alberti rapado a un costado, Zeta Bosio con la representativa camiseta de rayas, Cerati con lentes <em>cyberpunk<\/em> y atuendos tra\u00eddos de Londres. Musicalmente, <strong>el \u00e1lbum se adentra en un frenes\u00ed de libertad creativa<\/strong>, con loops, secuenciadores, samplers, acoples y un uso art\u00edstico del ruido, <strong>que alejaba a Soda Stereo de sus ra\u00edces <\/strong>pop y los acercaba a la vanguardia del <em>underground<\/em>.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">La movida s\u00f3nica y sus influencias<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>La &#8220;movida s\u00f3nica&#8221;<\/strong>, acu\u00f1ada por el periodista Pablo Llonto, <strong>fue una vor\u00e1gine disruptiva que marc\u00f3 a Soda Stereo. <\/strong>Seg\u00fan Nestor Fern\u00e1ndez, m\u00fasico Argentino, Cerati y Zeta asist\u00edan a conciertos de esta escena, donde nac\u00eda algo completamente nuevo de la mano de agrupaciones como Babas\u00f3nicos, Los Brujos y Juana La Loca. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sin embargo, <em>Dynamo<\/em> tiene claras referencias a <em>Loveless<\/em> (1991) de My Bloody Valentine, no es una simple r\u00e9plica. Aunque si bien comparte la grandilocuencia en las guitarras distorsionadas,<strong> <em>Dynamo<\/em> aporta un toque m\u00e1s electr\u00f3nico y psicod\u00e9lico, en especial en su segunda mitad.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La primera mitad del disco ofrece una descarga de energ\u00eda fren\u00e9tica y contundente. Un proyecto de guitarras desorientadas, bajos constantes y bater\u00edas met\u00e1licas, pero tambi\u00e9n de melod\u00edas on\u00edricas y letras del universo. <strong>En <em>secuencia inicial<\/em> y <em>Toma la Ruta<\/em>, Cerati fusiona los elementos del shoegaze, un g\u00e9nero donde las voces tienden a ser secundarias<\/strong>, con su habilidad para transformar la suya en un instrumento m\u00e1s de la atm\u00f3sfera.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Una introducci\u00f3n magn\u00e9tica al disco que, mediante cuerdas nocturnas, permite el despegue de sintetizadores y una bater\u00eda m\u00e1s bouncy en los temas siguientes. <strong>El lirismo sensual y las melod\u00edas suaves de Cerati se mezclan con guitarras distorsionadas, con claras influencias de los pioneros Cocteau Twins.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La oda de amor agridulce<em>, En Remolinos<\/em> es el punto m\u00e1s alto del \u00e1lbum. Una tormenta emocional que deja que florezca un puente instrumental precioso y una l\u00edrica filosa. Tiene uno de los primeros samplers de Soda, el inicio de <em>Indigo is Blue<\/em> del grupo ingl\u00e9s Catherine Wheel. La l\u00ednea de bajo cadenciosa y pasional fluct\u00faa como las olas derriti\u00e9ndose en la costa.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>\u201cLas canciones m\u00e1s rom\u00e1nticas que he escrito no surgieron por estar enamorado, sino por a\u00f1orar un estado ideal. confes\u00f3 Cerati a Rolling Stone en septiembre de 2006.<\/strong><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Varios de los hits de Soda Stereo<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><a href=\"https:\/\/www.youtube.com\/watch?v=BosH13cX4qg\"><em>Luna Roja<\/em> es otro <em>highlight<\/em> de <em>Dynamo<\/em>.<\/a> <\/strong>Las guitarras c\u00e1lidas y envolventes, acompa\u00f1adas por un bajo suave, crean una sensaci\u00f3n de progresi\u00f3n tonal que oscila entre lo luminoso y lo oscuro.<strong> La interpretaci\u00f3n vocal de Gustavo Cerati es et\u00e9rea y celestial, a\u00f1adiendo un toque ambiental que intensifica el aura m\u00edstica de la canci\u00f3n.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Este tema adquiere un significado a\u00fan m\u00e1s profundo cuando se considera la supuesta dedicatoria a <strong>Federico Moura<\/strong>, l\u00edder de Virus y amigo cercano de Cerati, quien <strong>falleci\u00f3 en 1988 a causa del SIDA.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La segunda mitad del \u00e1lbum presenta bastantes gui\u00f1os a la electr\u00f3nica con kicks muy digitales bien ejecutados y otra capa de ornamentaci\u00f3n sonora con instrumentos indios. <strong><a href=\"https:\/\/www.youtube.com\/watch?v=2tZ3lNKG18A\"><em>&#8220;<\/em>Ameba&#8221; representa la idea de que <em>Dynamo<\/em> es un \u00e1lbum m\u00e1s sensorial que narrativo<\/a><\/strong>, donde las emociones fluyen en capas por medio del sampler de <em>Mass Production<\/em> de Iggy Pop.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><a href=\"https:\/\/www.youtube.com\/watch?v=3qW9ygULVbc\">&#8220;Fue&#8221; se despliega con lentitud<\/a><\/strong>, dejando que cada nota se asiente en el aire antes de que la siguiente la reemplace. Las capas de sonido son m\u00e1s delicadas aqu\u00ed, <strong>permitiendo que la voz de Cerati salga un poco m\u00e1s al frente, aunque a\u00fan combinada con la m\u00fasica<\/strong>. <strong>&#8220;Texturas&#8221;<\/strong> es un final agitado y contemplativo para un \u00e1lbum que ha sido, de principio a fin, un viaje inexplicable.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A\u00f1os m\u00e1s tarde, el vocalista de la banda se aventurar\u00eda a escapar de las guitarras y sumergirse en texturas electr\u00f3nicas con dos importantes discos de su carrera solista: <strong><em>Bocanada<\/em><\/strong> <strong>(1999) y <\/strong><a href=\"https:\/\/elbatiscafo.com\/index.php\/2025\/11\/11\/siempre-es-hoy-el-disco-definitivo-de-gustavo-cerati\/\"><em><strong>Siempre Es Hoy<\/strong><\/em> <strong>(2002) de Gustavo Cerati.<\/strong><\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>En palabras de Soda Stereo<\/strong>, no es un disco tan radial y tampoco es experimental, es un disco de canciones que no les sorprendi\u00f3 tanto, pero <strong>fue su c\u00faspide creativa<\/strong>. Despu\u00e9s de la creaci\u00f3n de tantos temas redondos y sofisticados, ya aparec\u00eda un Cerati que coqueteaba con la idea de ser solista.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tras el \u00e9xito de Canci\u00f3n Animal (1990), Soda Stereo ya se hab\u00eda consolidado como una de las bandas m\u00e1s influyentes de Latinoam\u00e9rica. Sin embargo, lejos de acomodarse en el estilo que los llev\u00f3 al estrellato, el tr\u00edo argentino se embarc\u00f3 en la b\u00fasqueda de nuevos pulsos. &#8220;Decidimos cambiar de rumbo porque lleg\u00f3 un momento en [&hellip;]<\/p>\n","protected":false},"author":7,"featured_media":2562,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","artist":"","release_title":"","footnotes":""},"categories":[16,78],"tags":[],"class_list":["post-1160","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-efemerides","category-resenas-musicales"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Dynamo de Soda Stereo: el pilar del shoegaze Latinoamericano - Batiscafo<\/title>\n<meta name=\"description\" content=\"Con Dynamo de 1992, Soda Stereo lejos de acomodarse al estilo que los llev\u00f3 al estrellato, se embarc\u00f3 en la b\u00fasqueda de nuevos pulsos.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/elbatiscafo.com\/index.php\/2025\/10\/17\/dynamo-de-soda-stereo-el-pilar-del-shoegaze-latinoamericano\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dynamo de Soda Stereo: el pilar del shoegaze Latinoamericano - 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