condition (record/cover): NM / VG (heavy foxing on front)

A benchmark of the Barcelona experimental scene. Macromassa was by this point the trio of Juan Crek (modified baritone sax, voice, rhythm programming, flute, cymbals), Víctor Nubla (modified clarinet and bass clarinet, voice, rhythm programming, harmonium, cornet, piano-like sampling), and Anton Ignorant (electric guitar, bass, Spanish guitar, voice, rhythm programming). Los Hechos Pérez, recorded and mixed at the trio's own Laboratorio de Música Desconocida studio in 1990-1991, is the album on which they crystallised the full Macromassa method.

The LP ran eleven tracks; the 1993 CD that followed carried nineteen, reorganised into suites and blocks and including twelve tracks not on the vinyl, including the germinal mythology of the "Submundo Pérez" that would occupy the group's subsequent conceptual universe. Hortensia Pool guest vocalises on "El Espigado Aspecto de Martina." Album artwork credit to Manufacturas Marte with images by Adrià García.

Despite being (per the group's own wry acknowledgement) "the least jazz record in Macromassa history, if ever one of them was," Los Hechos Pérez was named by the magazine JAÇ among the hundred best Catalan jazz albums of all time. The idiom is instead closer to a free-rock-concrète-collage fusion, with heavy sampling, voice (sung and recited), and the signature modified woodwinds of Nubla and Crek. A dense, occasionally humorous, frequently ambitious record that sits on its own shelf in the Iberian post-industrial conversation.