This album represents a landmark in Soda Stereo's career basically in two aspects: artistically and commercially. Despite the fact that with their first two albums they achieved national success, the band was pegged as frivolous entertainers, related with other Argentinean bands such as Virus or Los Twist; with this album, the press and the audience began to take them seriously. Commercially it represented the breakthrough from Argentina to the rest of Latin America. After the release of the album, they started touring ...
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This album represents a landmark in Soda Stereo's career basically in two aspects: artistically and commercially. Despite the fact that with their first two albums they achieved national success, the band was pegged as frivolous entertainers, related with other Argentinean bands such as Virus or Los Twist; with this album, the press and the audience began to take them seriously. Commercially it represented the breakthrough from Argentina to the rest of Latin America. After the release of the album, they started touring Latin America, achieving a success that no Argentinean pop/rock band had achieved before in countries such as Chile, Perú, and Venezuela. The result of the extensive tour can be heard in the live album Ruido Blanco. Although it's not a concept album, the eight songs on it have coherence and consistency. Maybe it's the band's darkest and obscure album, but strangely it didn't conspire with the audience acceptance, and many hits came out. Songs such as "Signos," "Persiana Americana," and "Profugos" gave the band the possibility of conquering wider audiences and, at the same time, allowed them to explore new musical directions. The general feeling of the album could be resumed in the song that concludes it: "Final Caja Negra." A masterpiece. ~ Iván Adaime, Rovi
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