Gustavo Cerati Albums (9)
What The Critics Say
Riding high after the killer double punch of the electric Ahi Vamos and the monumental Soda Stereo reunion tour, Gustavo Cerati decided to give the epic a rest and concentrate on the intimate for the laid-back Fuerza Natural. Conceived and recorded rather quickly to Cerati's standards, the album sacrifices the stylistic coherence of his best work, such as 1999's masterpiece Bocanada, for the all-over-the-place diversity of 2002's Siempre Es Hoy. Fortunately, it also avoids the latter's sprawling nature by virtue of being a good 15 minutes shorter. Cerati seems to have taken this opportunity to both relax and flex his songwriting muscles, trying different avenues in the good company of trusted collaborators such as Leandro Fresco, Fernando Nalé, Fernando Samalea, Richard Coleman, Anita Alvarez de Toledo, and co-producer Tweety Gonzalez. Moreover, most lyrics are co-written with either Coleman, Adrian Paoletti, or Cerati's son, Benito Cerati. Fuerza Natural has a curious sequencing structure, as it seems to be organized in stylistic batches. It begins with a trio of bona fide Cerati hits in that suave, effortless manner that always suited him so well; it then switches to a surprising but rather unsuccessful bluesy/folksy diptych (surprising inasmuch as Cerati has always been closer to U.K. electro-pop than to American roots music); later it proposes a few uptempo numbers that recall the hard rock sound of Ahi Vamos; and finally, the disc ends with a three-song, 12-minute wash (including one hidden track) of psychedelic delight. In spite of all this diversity, the best moments are the ones that recall former Cerati songs, such as the aptly titled first single "Deja Vu," which ironically acknowledges: "this song has already been written." The highlight by a mile, however, is the exquisite "Cactus," another chapter in the on-and-off affair Cerati has had with Argentine folklore since 1985's Soda Stereo classic "Cuando Pase el Temblor." As with every other time has tried to combine a native rhythm (this time a chacarera) with electronic textures and his decadent, romantic outlook, the results are simply superb. One can only hope Cerati will make an entire album in this vein one day. For the time being, the impeccable Cerati discography has a new addition to the enjoyable "interlude" category with Fuerza Natural, rather than to the epoch-defining album one, from an artist who time and again has proven himself a master at both. This new batch of songs may be growers rather than immediate favorites, but they still, inevitably, exude that astonishing sense of musical facility, absolute class, and inherent sophistication that have come to distinguish all of Gustavo Cerati's productions. ~ Mariano Prunes, All Music Guide
'Ahí Vamos'
Release Date 5/30/2006
Tracks 13
Label International Tiger
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What The Critics Say
At long last, Gustavo Cerati returned to straightforward guitar rock on Ahí Vamos, following an extended run of fairly experimental albums that interwove electronic and orchestral flourishes into the fabric of the Argentine rock legend's guitar-driven style. If you've followed Cerati's erratic solo career, not to mention his latter-day efforts with his longtime band, Soda Stereo, it's difficult to view Ahí Vamos as anything except a back-to-basics return to form -- something for which a lot of fans had long been pining. In fact, a certain segment of fans had abandoned Cerati years prior to the release of Ahí Vamos in 2006; after all, he hadn't released an album of good old-fashioned guitar rock since Soda Stereo's Cancion Animal (1990). His experimentation -- or pretension, some would argue -- began with Soda Stereo's poorly received Dynamo (1993) and continued with his solo releases, peaking with a pair of bold 2002 releases: 11 Episodios Sinfonicos, a live album recorded with a 40-piece symphonic orchestra directed by Alejandro Terán, and Siempre Es Hoy, a long and meandering 17 tracks of unruly electronic rock. So the straightforward guitar rock of Ahí Vamos came as a surprise, especially since Cerati had been inactive since the boldness of 2002, and a pleasant surprise it is. Indeed, Cerati hasn't sounded this accessible since Cancion Animal, crafting direct rock songs with soaring choruses, his guitar heroics at the forefront of every song. In fact, the album's lead single, "Crimen," a gentle piano ballad, could well be mistaken for an old Soda Stereo hit, with its yearning, reach-for-heaven chorus and its urgent climax. "Adiós" is another such song -- gently melancholic in its elegance, and instantly memorable because of its melodies. However, the surging guitar rockers here are the highlights, especially the opening three songs ("Al Fin Sucede," "La Excepcíon," and "Uno Entre 1000"), each dynamic and uplifting, driven by fierce riffing. Again, if you've followed Cerati over the years, or at least have a sense of his career musically, it's clear that Ahí Vamos is a back-to-basics statement of purpose. Even the album's stark cover image sends a clear message: Cerati as guitar hero, plain and simple. Moreover, the modest running length of 13 songs helps make Ahí Vamos one of the most easily enjoyable efforts of Cerati's career. It's an album that should appeal to Soda Stereo fans as well as newcomers unready for the challenges of his prior solo albums, of which Bocanada (1999) is the masterpiece, albeit a difficult one that feels a world apart from the ease of Ahí Vamos. ~ Jason Birchmeier, All Music Guide
'Reversiones/Siempre Es Hoy'
Release Date 11/18/2003
Tracks 20
Label RCA International
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What The Critics Say
This double CD includes remixed material from his previous album, Siempre Es Hoy. It's quite eclectic material, featuring the work of Kinky, Nortec, Leo García, Cerati himself, Capri, and Wechsel Garland, among others. The original Siempre Es Hoy had 16 tracks, but on this album you will find remixes of just 11 of them. So some songs are repeated up to three times. The remixers show themselves to be perhaps a bit too reverent to the original material. The highlights comes from DJ Orange, with his drum'n'bass look at "Altar," and from Capri, which released the potential hit of "Karaoke." "Tu Cicatriz en Mí" gets a peculiar look, since DJ Zuker and Cerati used a recognizable sample from the Pixies' "Bone Machine." Fans may find this useful, but there's very little reason for the merely curious to start here. ~ Iván Adaime, All Music Guide
'Siempre Es Hoy'
Release Date 12/3/2002
Tracks 17
Label BMG International
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What The Critics Say
Siempre Es Hoy was recorded while Gustavo Cerati was going through some personal changes: divorcing his wife and then falling in love again (this time with the former girlfriend of his Soda Stereo colleague Charly Alberti). This is indeed a breakup album, but also of renaissance. Sometimes bitter ("No Te Creo" and "Karaoke") and sometimes very sweet ("Amo Dejarte Así," "Señales Luminosas," and "Cosas Imposibles"), on the surface Siempre Es Hoy sounds happier than Bocanada and, in fact, it is, and then some: it is Cerati trying hard to leave behind his self-imposed cool and distant look at reality. On "En Vivo," he sings "I'm gonna wear my human skin costume." Although it may sound quite monotone and long at first listen (maybe due to the mid-tempo mood that rules the record), the album as a whole reveals different angles upon each play. "Sulky" is one of the most interesting songs on the album. It features Domingo Cura, a folkloric Argentine musician. "Tu Cicatriz en Mí" is a reworked version of "Es Sólo una Ilusión" originally included in the soundtrack + Bien. Less experimental and electronic than his previous albums, you can hear again his fine and intense work as a guitarist. If Bocanada was too somber and serious, this album is a positively lighthearted step forward in the recovery of some intensity. ~ Iván Adaime, All Music Guide
What The Critics Say
Recorded live at Buenos Aires' Avenida Theater on August 6, 2001, 11 Episodios Sinfonicos became one of the most ambitious projects by ex-Soda Stereo singer/guitarist Gustavo Cerati, who performed along with a 40-piece symphonic orchestra directed by Alejandro Terán. The album brings a collection of greatest hits with well-crafted arrangements and sophisticated sounds, mostly delivered by violins and violoncellos. In addition, Cerati's seductive voice allows listeners to establish a captivating connection between rock en español and classical music. "Persiana Americana," "Canción Animal," and "Signos" are among the best songs on this memorable 11-track record. ~ Drago Bonacich, All Music Guide
What The Critics Say
This album was conceived as a soundtrack to Eduardo Capilla's experimental film + Bien, but it really stands well by itself. You won't find what made Cerati famous here (his songs). Most of the 12 tracks are instrumental mid-tempo soundscapes that mix electronica and acoustic guitars equally. Somehow it works as an instrumental follow-up to his previous pop album, Bocanada. And it does a good job, especially with pieces like "Kuro," "Es Sólo una Ilusión," and "Llegaste." The film represented Cerati's debut as an actor; he co-starred the film with Latin MTV VJ Ruth Infarinato. Argentinean electronic artists like Leo García, Flavius, and Leandro Fresco are among the collaborators. Like many of his '90s works, this album lacks the emotion and dramatic tension of his best records with Soda Stereo, but that's not necessarily a bad thing. Essentially, this album is mood music, and it works properly on that level. ~ Iván Adaime, All Music Guide
What The Critics Say
Although this album was Gustavo Cerati's second solo effort, it was the first one released after Soda Stereo split. After that, he just worked as a part of electronic bands like Plan V and Ocio. This long-awaited album was his return to pop, and in fact he combined his devotion to electronic music with the pop songs that made him famous. A song like "Río Babel" demonstrates this mix, and also the midtempo cadence that dominates the album. There are some beautiful and outstanding songs, like "Bocanada," "Puente," and "Aquí y Ahora," this last one inspired by the story "El Jardín de los Senderos Que Se Bifurcan" by Argentine writer Jorge Luis Borges. An orchestra of 48 musicians participates in "Verbo Carne." Along with the songs, there are some instrumental electronic pieces, like "Y Si el Humo Está en Foco" and "Balsa." ~ Iván Adaime, All Music Guide
'Amor Amarillo'
Release Date 3/1/1994
Tracks 10
Label RCA International
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What The Critics Say
When Soda Stereo's future was unknown, Gustavo Cerati released this intimate and introspective collection of songs that reflect changes in his personal life. He got married to Chilean model Cecilia Amenábar and was expecting a child while this album was being made; on "Te Llevo Para Que Me Lleves," they even sang together. That song is enough to summarize the album's feeling: delicate, luminous, and positive. Cerati played all the instruments with few exceptions. The sound of the album was almost entirely based on guitars, although some electronic approaches could be found in songs like "Pulsar." It wasn't as experimental as Soda Stereo's Dynamo or Colores Santos, the album he made with Daniel Melero released at the beginning of 1992. "Avenida Alcorta" is as close as Cerati gets to Soda Stereo's sound. It contains a respectful version of "Bajan," a Pescado Rabioso song originally included on the influential 1972 album Artaud. ~ Iván Adaime, All Music Guide
'Colores Santos'
Release Date 8/25/1992
Tracks 11
Label Sony International
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What The Critics Say
Gustavo Cerati and Daniel Melero made this album while Soda Stereo was still a group at the peak of its popularity. That was two years after the release of Cancion Animal, in which Daniel Melero, a local techno pioneer, was a major contributor. Certainly you won't find anything here that sounds like what Soda Stereo had done at that time. The result is an experimental pop album with an electronic touch. Somehow this album was like a UFO in the Argentine early-'90s rock scene. Featuring mainly songs, there are also some instrumental pieces like the danceable "Quatro," "Madre Tierra," and "Alborada." All of the tracks were written by the duo, expect "La Cuerda Planetaria" by Melero and "Tu Medicina," a song that Cerati dedicated to his father, who died a few months before the album was recorded. "Cozumel," "Hoy Ya No Soy Yo," and "Vuelta por el Universo" stand as the best songs of an even album. Ideal for seekers of new approaches to the pop world, it also shows the roots of the roads that Soda Stereo and Gustavo Cerati were going to travel later. ~ Iván Adaime, All Music Guide
