Lucrecia Dalt
(c)ovid's metamorphoses
Big Tip! With a wide range of work by sound artists and musicians, writers, filmmakers, photographers, and visual artists, (c)ovid's Metamorphoses uses the Covid-19 pandemic and its far-reaching consequences as an instrument for change, artistic and otherwise. A play on experiment across various fields of artistic practice, all featured work revolves around ideas of transmission and inspiration, conjuring up a massive body of vital and daring artistic expressions unashamedly avant-garde. (c)ovid…
¡Ay!
Tip! Lucrecia Dalt channels innate sensory echoes of growing up in Colombia on her new album ¡Ay!, where traditional instrumentation encounters adventurous impulse and sci-fi meditations on atemporality in an exclamation of liminal delight. Dalt’s introspective approach to composition, last surfaced on her entrancing 2020 album No era sólida, refracts across ¡Ay! in a subconscious spectrum of the music genres she absorbed as a child. Treasured sounds and syncopations of bolero, mambo, salsa, and…
Commotus
Tip! 'Today, we seem to have two branches in the school of experimental pop. One branch privileges object-hood, richness of surface, and mass-hallucinatory quotation. The other (much less celebrated) branch seeks to recapture authenticity in the form of a highly personal hallucination of music history.
With her sophomore full-length, Lucrecia Dalt follows the latter branch as far as it seems to go. She leaps into a surrealist landscape with stunning abandon, eschewing the comparatively safe trop…
Syzygy
Tip! Upon introducing her Guest Mix, “en medio,” Lucrecia Dalt left a number of clues concerning the role of film in her music. Through describing its placement in the mix and the impact certain classics had on her third album, Syzygy, she explained that “these movies became the external shifter elements, the vectors of disorientation, guides to other moods.” As opposed to subjective depictions of scenes or images that the Colombian musician may have found affecting, their association had more t…
Lucy & Aaron
Second Edition w/ Alternate artwork from first edition. Full color printed covers w/ full color printed inner sleeves. 1000 copies pressed. * Lucy & Aaron is the debut collaboration LP from the duo of Lucrecia Dalt (RVNG Intl.) and Aaron Dilloway (Dais Records). Full length LP in full color cover with printed inner sleeve featuring art by artist Pieter Schoolwerth. * “I met Aaron in Madeira around 10 years ago, and I was blown away by his set, when I was going to tour the US for the first time, …
PRSNT
The LP contains original compositions by Ryuichi Sakamoto, Pascal Comelade, Laurie Spiegel, Lyra Pramuk, Chassol, Nicolas Godin and Pierre Rousseau, Pedro Vian and Pierre Bastien, Visible Cloaks, Kelman Duran, Raul Refree, Lucrecia Dalt, Lafawndah. + writings by contemporary thinkers like Shumon Basar, François J. Bonnet, and pictures by Wolfgang Tillmans, Juergen Teller, Araki, Elizaveta Porodina, Dani Pujalte, P Jack Davison, Zhong Lin, Alessandra Sanguinetti, Adrià Cañameras, Javier Tles amon…
Anticlines
Lucrecia Dalt’s Anticlines is a volume of bodily and geological substrates within poetic theory and sound. It is a place where skins and minerals dissolve and commingle, where gaseous subterranean leaks inflate lungs, where brain cavities echo interplanetary waves bent from passing through atmospheres. A former geotechnical engineer from Colombia currently residing in Berlin, Dalt’s concern with boundaries and edges shape the lyrics and music of Anticlines, her sixth album. Paying careful attent…
No era sólida
Lucrecia Dalt presents No era sólida, an introspective path to unworldly surroundings where self becomes sound, and a compass for the searchers of musical possession.
For her follow-up full-length to 2018’s Anticlines, Dalt relinquishes control of the corporeal to reach imagination’s outer realm. Where Anticlines framed the physical processes of matter changing state, No era sólida observes a transition in Dalt herself through the emergence of Lia: an apparition, or second self, of the artist as…
Ou
2015 release. Along the arc of Lucrecia Dalt's music, beyond what steers her so allusively away from self-repetition, there is an undefinable forward inertia. What can explain, for instance, the near absence of her voice? Is it personal interest, renunciation, an embrace? Is she driven by a backdrop of conceptualism, or is this a lyrical wandering? What is known, for starters, is that she made Ou immersed in a cinema of her own, curatorial creation. Ou's filmic quality is a direct consequence of…