Siempre es hoy

Following the critical success of its 1999 album Bocanada and some musical experiments in between like 11 Episodios Sinfónicos and +Bien, Cerati "wanted to make a rhythmic and powerful album, unlike Bocanada, which was more subtle and elegant".^[2] The album was developed at the height of a severe economic crisis in Argentina that forced it to be reduced to a single CD; the project was originally conceived as a double album.^[3] At the end of production, the artist had to choose from around 40 songs—some of which were merely sketches—to arrive at a tracklist of 17 songs and a total duration of more than 70 minutes, "an unusual venture for the [Argentine] music industry at that time".^[2]

Cerati described the rhythm section to be influenced by hip-hop, "a genre [he] was listening to a lot [at the time]", with the guitars and melodies adopting a more conventional style of rock/pop. The album also explores scratching and Argentinian folk percussion.^[2] A variety of guests were brought, including Charly García and other artists who contributed to the experimental sound of the project.^[3]