El Último Sueño

El Ultimo Sueño began in September-October 1981, although they had been playing before with other names, such as Los Magnéticos. The core of the band were Felipe Palomo (voice and guitar), Juan Carlos Palomo (bass) and José Enrique Siguero (bataría).

The name of the band came after a comic, along with their fascination with the world of dreams. When the name was proposed, it seemed very suggestive and open, although it would surprise that many band would adopt similar artistic names (El Ultimo de la Fila, Ultima Emoción, Ultimo Resorte). 

Although most bands of the time based their appeal on extra-musical qualities such as freshness, impudence, fun or provocative image, influenced mainly by the latest British trends, few bands were, unlike in the United Kingdom, making good songs or investigating with music and sounds to obtain something new. El Ultimo Sueño always had that restlessness, as well as, for example, Decima Victima, or the first Gabinete Caligari. In both bands, the use of guitar with flanger and distortion, and a bass that was not limited to being a mere yes-men, drawing suggestive melodic lines. However, their references were never located in Spain; they simply shared certain musical tastes. In fact, there was an external factor (of which it has hardly been discussed) that contributed to the homogenization of the sound of a few groups: Jesús Gómez and his study Doubletronics. He was the sound engineer for most of the famous songs of that time and since he was a young musician, he played a decisive role in the final sound. El Ultimo Sueño fled the distortion and typical "power chords" and above all, the way of composing was clearly different, exploring new territories (especially in their second single).

They contacted with Carlos Entrena, of Décima Víctima, with whom they acted like supporting act in the Escuela de Caminos, recorded a demo and later plastified their EP, in Grabaciones Accidentales. It could be said that the rupture of Décima Víctima had a negative influence on the group's future, since it was Carlos and Lars Mertanen who moved the most. In March of 1982 appeared a song on a Radio Nacional demo, pertaining to a LP entitled 'Maquetas' (where emerging groups of the moment appeared): "El Fugitivo", although the song that came out was actually "No Debiste Asustarme".

In December of the same year they recorded their first EP for Grabaciones Accidentales with three songs: "Perdido en el Tunel del Tiempo", "No Debiste Asustarme" and "El Reloj se ha Parado". In June of 1983 they recorded what wanted to be a EP with 4 songs: "El Silencio de los Cisnes", "Los Muebles Están Volando", "El Silencio de los Cisnes" (instrumental) and "Nunca Olvidarán lo Visto", but crisis on the indie labels arrived and they only managed to take out of that session a single with "El Silencio de los Cisnes" y "Los Muebles Están Volando". A year later, in summer of 1984, the group was already a duo. [SOURCE: GRUPOS NACIONALES NUEVA OLA 80]