Initially, he was reluctant because he feared being mistaken for a terrorist due to his looks – indeed, he was randomly picked for a search at Milan's Airport.

Mattoso had been a press agent for labels Ariola Discos and PolyGram and in 1989 she had opened an office with her business partner Marcus Vinícius to do PR to artists such as Gilberto Gil, Cazuza, Caetano Veloso, Elba Ramalho, among others.

[8] The trip, which consisted in four nights in Milan and another four in Rome,[4] resulted in visits to Italian musicians and a big quantity of acquired albums[10] – over 200.

[7] The album's recording took place throughout 1995,[1] and was done by computer and then transferred to magnetic tapes, since the arrangements involved more instruments and the channels at that time were limited.

[11] The vocals became another problem: not used to that kind of music (compared to his work with Legião Urbana), Russo disliked the first recording, abandoned the studio for some time and cancelled sessions.

It required a lot of work.Many other songs were recorded (a total of 21 were conceived for the album[14]), however, they didn't have their arrangements ready and were cut from the final track list.

[15] Equilíbrio Distante came out in December 1995, a month before Russo had to return to the studio to commence work on those which would be the last Legião Urbana albums.

[4] The album cover features drawings by Giuliano Manfredini, Russo's son (who was 6 around that time[1]), in textured paper.

[12] In a brief review, Folha de S.Paulo said the album "fails to repeat the delicate lyricism of The Stonewall Celebration Concert" and defines it as "tacky", listing as possible reasons "the language, the mellow arrangements and the repertoire choice".