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Fusión is the forth production released by Distorsion Desequilibrada, Alvaro Portales’s industrial noise project. He is one of the most important representatives of industrial noise produced in Lima between 1990 and 1995. Portales by then began his work as a graphic designer and comic artist and he was always present at the hardcore punk underground rock and metal circuits. The radicalism of grindcore and its derivatives, grindnoise and noisecore rooted themselves locally and allowed for the appearance of a small but very active grind move which Portales quickly joined. It is within this movement that the first industrial noise local projects were born. Atresia was the first of Porlales’s projects. With it he released his demo Masacre Polutivas in 1990. Next year he formed Distorsion Desequilibrada with similar characteristics, tied to the aesthetics of grind noise but in a soundscape, as in Atresia, that dropped the rock format to go deep into a magma of dissonant sounds, influenced by the sonic radicalism of the Australians 7 Minutes Of Nausea as well as the German group Einstürzende Neubauten which inspired him to use artifacts and metals to generate noise. The political and social situation of the country - sunk in terror due to the war between terrorist groups and the military - were the inspiration for the graphic collages depicted on the covers of the first cassette tapes of Portales. Thus Distorsion Desequilibrada made itself known as a sign of violent times.
Distorsion Desequilibrada published all in all 5 demos, Ataque Sensorial Auditivo (1990), Inanición (1991), Terrorismo de estado(1992), Fusión (1993), and Distorsión (1994) and their evolution took them from industrial noise strongly influenced by grind and harsh noise to sound experimentation based o feedback.
Fusión was recorded jointly with Edgar Umeres, who already made noise using guitars and effects under Glaucoma, and who was a member of the metal band Hadez. For the latter Portales had illustrated the cover of their album Aquelarre, as well as a demo by Glaucoma.
Umeres offered Portales help to record Fusión, based on the essential concept of including various things which upon being added to each other would become another thing. The recording took place in the morning and part of the afternoon of June 15, 1993. Portales and Úmeres borrowed a multi effect unit from John Capcha, guitarist for Hadez, and headed for a rehearsal studio in San Miguel. They connected the two guitars and recorded all in one take to a chrome tape on a portable recorder. Then Portales prepared the final master tape, adding the radio sounds of the introduction.
The cover sleeve of the demo consisted of an image taken from the Unesco magazine dedicated to photography in sequence which registers imperceptible movements. Portales chose one series that corresponded to the melting of various metals in fire at a blast furnace. The inner sleeve included a quote from the futuristic manifesto and a graphic score of avant-garde music. It is in this manner that Fusion sets itself completely apart from grind references and turns into a sound object that for a moment recognizes a previous tradition in avant-garde music. A concept piece that by no means reduces minimally its sonic brutality but rather amplifies it, following the noise line started by Glaucoma (evoking Metal Machine Music by Lou Reed), transforming the blend of the powers of Portales and Umeres into a true guitaterrorism collision where there is not a second to take a breath.
Fusion seems to stamp a seal as it opens a period of time by force of an extreme sonic violence, a melting pot which is also a leap into another dimension of noise which positions them undoubtedly as one of the great references of noise as made in this part of the world. (Luis Alvarado)