Gustavo Cerati: fuera de foco, inalcanzable

cerati

Eran pocos los caminos de la experimentación tomados por la música hispanoamericana hasta antes de la caída de las dictaduras y del reacomodamiento de identidades y sonidos. La música apenas salía de la resaca musical de los años 60 y 70, un baile alargado y comunal que tiraba en dos ritmos: por un lado, las limpias guitarras del folk de inspiración Bob Dylan/Joan Baez, revestido de discursos de raíces originarias y líricas político-sociales encumbradas en una suerte de romanticismo sudamericano. Por el otro, una traducción Made in South de modas del rock anglosajón que encontraron un nicho de mercado exitoso en la adaptación de hits, desde Bill Haley a The Beatles y de Popotitos a la vestimenta Zeppelin, culto al blues rock incluido.

Hitos propios de la región, los hay, aunque no dejan de ser casi siempre traslaciones de conceptos ya probados en el extranjero como la conversión del neoyorkino Festival Woodstock (1969)  a Avándaro (México) o al Festival PinAp (Argentina), que actuarían como catalizador de una juventud urbana y latinoamericana que reaccionan y cuestionan  la realidad que viven en lo musical, sueñoan con lo propio, pero también con estar al otro lado del otro mundo donde los festivales masivos y el lanzamiento de albumes en LP son parte natural de la época, y no una aventura casi clandestina.

Lo que sangra (Argentina)

Esa es la banda sonora del l Buenos Aires donde, desde su nacimiento en 1959, vive y crece Gustavo Adrían Cerati Clark, en una Argentina poco a poco decantada hacia  la dictadura militar que estallaría en 1976 y dejaría una huella de fuego en su generación.

Para 1980, los pibes capitalinos ya comienzan a reunirse, a formar bandas musicales, dúos, tríos, cuartetos de rock ventilados por los aires de la movida madrileña que en poco tiempo alumbraría a Héroes del Silencio, Mecano, Radio Futura ó Nacha Pop, pero también por el nuevo viento de la década, los incipientes años 80 que comienzan a despedirse del punk, de la psicodelia, y dan la bienvenida a The Police, New Order, U2, Depeche Mode ó Talking Heads, portadores de un momento inaugural donde el VHS, el videoclip, la luz neon y el tornamesa entran a jugar.

Escondidos por Buenos Aires entran al mundo de la mñusica: Gustavo Santaolalla, Charly García, Andrés Calamaro, y Los Stereo Tipos, dúo formado por Zeta Bosio y el niño prodigio de los instrumentos en el instituto, Gustavo Cerati. Sería hasta 1982, en el clima de los meses inmediatamente anteriores a la caída de la dictadura, cuando a aquellos Stereo Tipos se una Charly, el hijo del baterista de jazz Tito Alberti, hacen girar la vista hacia horizontes más amplios de lo aparente, como trío. La Guerra de las Malvinasestallaba. Una tarde, el padre de Charly se acerca a ellos mientras ensayan armonías y les pregunta ¿Ya han pensado cómo se van a llamar?. Soda Stereo, le responden. Con una sonrisa burlona, el experimentado músico comenta: ¿Y por qué no mejor Sifón Drago o algo así?. “Dejaron de hablarme por seis meses, y después… ve a dónde llegaron”, cuenta.

Té para tres

Con composiciones mayoritariamente de Cerati, Soda Stereo presentó su primer álbum homónimo en 1984 con el lanzamiento del sencillo “Sobredosis de TV”, llamativo por la polémica inclusión final de la frase “No puedo seguir masturbándome”, que obligar a la banda a modificar la letra para su difusión pública, cambiando el último verbo por maquinándome.

Discos y sencillos siguientes (Nada Personal de 1984, Signos de 1986), continuaron expandiendo las letras de Cerati por otros países del continente abriendo puertas a sus primeras giras de varios países y culminando este proceso de apertura con el éxito de su presentación en el Festival Viña del Mar de 1987. Signos, impulsado por el éxito de su sencillo Persiana Americana, fue el primer álbum argentino editado en el entonces innovador Compact Disc, una placa grabada en Nueva York, mezclada en Países Bajos y distribuida simultáneamente en toda América Latina.

1990y después…

La historia de Cerati en Soda Stereo es ascendente desde ahí hasta su rompimiento en 1997 y pasa por la grabación de cuatro álbumes más entre los que figura uno de los hitos clásicos del rock en español: Canción Animal (1990), inmediatamente reconocido como una pieza clave de su evolución musical.

El paso de Canción Animal al siguiente material, Dynamo (1992) es también el tránsito a un sonido más amplio y valiente en la experimentación, alejado ya del sonido synth pop germinado en la década de 1980, Cerati, aún en Soda, gana madurez lírica en las letras y su sonido se personaliza, se vuelve más Cerati que Soda y esta sensación desemboca, al año siguiente, en su primer álbum como solista (Amor Amarillo) y otro a dúo con Daniel Melero (Colores Santos), el principio del final para el trío bonaerense.

Un interesante disco de remezclas de canciones anteriores, acompasadas al nuevo estilo (Zona de promesas), un último album en estudio (Sueño Stereo) y la grabación de un excelente disco en vivo para MTV (Comfort y música para volar) serían las últimas marcas de Soda Stereo, Cerati llega entonces a una personalidad musical individual que se fermentaría en un retiro de dos años, desde el último concierto con Soda en el Estadio River Plate (1997) hasta el lanzamiento de su segunda placa individual, el aclamado Bocanada de 1999. Hoy valorizado como una de las marcas puntuales de la música en español del paso entre siglos. En 2007, una breve gira de aniversario resucitó a Soda Stereo por algunos meses, aunque nunca significó un reencuentro sino, aclaró el mismo Cerati, “sólo una burbuja en el tiempo”.

Poder decir adiós es crecer

Un emotivo y vigoroso Gracias, totales gritado de cara a una multitud conmovida y envuelta por  un vendaval de Música Ligera termina con el primer capítulo del vocalista y compositor, que en años siguientes se entregara a la experimentación en soundtracks, versiones sinfónicas, música electrónica ó ambiental, además de involucrarse directamente en la conceptualización de videos musicales a lo largo de la presentación de discos propios como Siempre es hoy (2002),  Ahí vamos (2006) ó Fuerza Natural (2009), su última placa, presentada en la Ciudad de México como punto inicial de una gira que culminaría abruptamente en Venezuela el pasado 15 de mayo, después del cual una grave descompensación cerebral pareciera haber terminado con las proezas del pibe Gustavo.

La estela de Gustavo Cerati en el sonido latinoamericano de las últimas tres décadas funciona como música de fondo del camino de una Argentina que poco a poco emerge de una pesadilla del peor tipo: las que en el recuerdo se saben reales, no soñadas. Las desapariciones, los crímenes de aquella dictadura, la locura de las Malvinas y los múltiples ecos de aquello que retumban en la juventud de esa época fueron el telón de fondo de los inicios de un músico irrepetible en el panorama hispanoamericano, caminante de múltiples patrias (o de ninguna) que cultivara una entrañable amistad con países con México o Chile, con el mismo calor que guardaba para su Ciudad de la Furia, Buenos Aires, tan susceptible, y para toda América, donde todos saben de él, donde el fue parte de todos.

La Revista MilMesetas rinde homeaje al siempre inalcanzable Gustavo Cerati.

RL

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