genre especially constructive for composing songs and began honing the art of sampling, buying an Akai MPC and composing sample-based songs with Melero in Estudios Supersónico. This partnership would eventually culminate in the release of the Rex Mix EP (1991), as well as a Cerati-Melero collaboration, Colores santos, in 1992, both of which draw heavy sonic influence from electronic music, the Madchester scene in the United Kingdom, and neo-psychedelia. Exasperated by their old material, Soda had already begun working on new music towards the tailend of the Gira animal tour, after a brief pause in touring. Cerati said, "We made the decision to distance ourselves a little, to do other things, to open our heads a little bit, to travel and to get together when it was right. That's how it was." On top of Cerati's aforementioned influences coming into songwriting sessions, Soda also grew interested in alternative rock, impressed by the works of British shoegazing and dream pop bands such as My Bloody Valentine, Ultra Vivid Scene, Sonic Youth, Ride, Primal Scream, Spiritualized, and Lush. Immediately following the culmination of the tour in May 1992 by way of six shows in Spain, Soda Stereo began work on a new album, tentatively titled Gol, but renamed Dynamo after Melero made a comment about old bicycles having dynamos. Two of the three songs composed exclusively by Cerati, "En remolinos" and "Primavera 0", had allegedly already been written by the time the group returned to Buenos Aires. According to Cerati, much of the album's material was composed in jams and rehearsals, with the audio recorded in stereo and saved onto DAT's. Other songs, such as "Texturas", were based on old songs from the band's beginnings. Eventually, Cerati states, "twenty-something" songs were written for the album. Many of the rejects for Dynamo ended up on other albums; the song "Rombos", from Cerati's solo album "Amor Amarillo" (1993), was first written by Cerati for Dynamo, and documentary footage by Boy Olmi taken from the recording sessions shows Cerati playing the song to Bosio on his MPC. Other songs, such as "Zona de promesas", "Ángel eléctrico", and "Planeador", ended up on subsequent Soda projects. Recording began in August 1992 in Estudios Supersónico in Buenos Aires, near Belgrano. Most of the lyrics were written in-studio, to the melodies. Meticulous about the album's sound, Cerati wished to "deform" the album sonically by constructing shoegaze-reminiscent walls of sound,