In the early ‘80s, as interest in Argentina’s blues-rock explosion of the previous decade began to subside, Soda Stereo broke ground with a new sound—an enticing blend of New Wave and melodic punk with an occasional touch of Andean folk. Fueled by guitarist/vocalist Gustavo Cerati’s experimental guitar licks and cosmic tales of swirling stars, Zeta Bosio’s sensuous basslines, and the riveting drum work of Charly Alberti, the Argentinian power trio created an edgy electro-rock sound that would change the course of Latin rock for decades to come. Soda Stereo formed in 1982, just as Argentina was transitioning away from a dictatorship, and by the arrival of their eponymous debut two years later, they quickly established themselves as a refreshing, alternative voice in Spanish-language rock throughout Argentina and neighboring Uruguay. Soda Stereo reached international fame with 1985’s “Cuando Pase el Temblor”, a mystifying pan flute-laden masterpiece about tumultuous love that elegantly showcased their metaphorical songwriting and musical versatility. With 1988’s “En la Ciudad de la Furia”, the band’s hypnotically languid sounds and dystopian lyricism further pushed the perceived limits of Latin rock. Numerous hits followed throughout the ‘90s, like the hair-raising smasher “De Música Ligera”, the risqué lullaby “Té para Tres” and the energising “‎Ella Usó Mi Cabeza Como un Revólver”. The trio disbanded in 1997 to pursue solo projects, but reunited a decade later for their last gig, leaving behind a blueprint for musical experimentation that ensuing generations of Latin rockers like Siddhartha and Chetes have eagerly followed.