steam. For starters, bands like Los Siete Delfines and Peligrosos Gorriones, with their more artistic antics, fell out of favor. At the same time, groups like Massacre and La Portuaria went on recording hiatuses and would not return until more favorable winds in the early to mid-2000s. Los Brujos disbanded in 1998 after eight years of solid productions, but it left a large void in the movement. One of the last hurrahs of new rock were rap-rockers Actitud Maria Marta, which had a year of fame in 1995. Babasónicos, Todos Tus Muertos, and Illya Kuryaki and the Valderramas were some of the new rock bands that were able to maintain their level as the year 2000 approached. Also, 1995 would see the last album by Soda Stereo, their relaxed almost chillout-like Sueño Stereo, an album at times more electronic than rock previewing the direction of Gustavo Cerati's solo career. Soda Stereo would go on a last grand tour through the United States and Latin America, selling out entire stadiums as they went. Their last concert in Buenos Aires in 1997 was released as a double-album, with 70,000 people selling out twice at the Estadio Monumental Antonio Vespucio Liberti. The arguably greatest band in Argentine and Rock en Español history wrapped up the concert and their career with the live version of "De Musica Ligera";, Gustavo Cerati, the vocalist, guitarist and leader of the band, would end the song thanking his public, and would finish this gratitude by saying "... Gracias totales" (total thanks), this would become an iconic phrase for the band and Argentine rock thereafter. Conversely, "rolinga" rock was on the up. On the one hand were the 1980s bands that by the mid 1990s approached the suburban rock sound: Redonditos de Ricota, Divididos, Las Pelotas. They were joined by two bands that would define suburban in the late 1990s as well: Los Piojos and La Renga. La Renga is also considered one of the Rolinga groups (followers of the Rolling Stones blueprint) like Los Ratones Paranoicos and Viejas Locas, whose weighty followings would only grow larger. Argentine youth began to musically and socially gravitate to either the suburban rock groups or towards the underground. And even within these two major groupings there were subdivisions (rolinga and post-chabón in suburban rock; sonico, punk, dark in the underground). Then there were the heavy metal followers, the large and expanding indie