Music from Colombia

Lucrecia Dalt's score for Bryn Chainey's folk horror Rabbit Trap, a film about the power of sound: humming drones, unnerving loops and garbled fairy chatter, with Aaron Dilloway on one track.

*170 copies limited edition* "Between September and November of 2024, I turned to sonic art making to cope with personal grief and to reestablish a sense of purpose after a family loss. Like a ritual, I developed a weekday routine, working in my studio from 1:30 to 5:30 PM consisting of field recording and improvisation with sine waves and objects. From this material, I composed six pieces that emphasize continuity and repetition, drawing on coarse, low, and deep resonances to embody the rituali…

Lucrecia Dalt’s A Danger to Ourselves is a fearless reflection on the unfiltered complexities of human connection. Stripping away fictional narratives present on the artist’s last several album endeavors, A Danger to Ourselves arrives from a place of emotional sincerity. Sonically unraveling like a deeply personal conversation,Dalt’s voice is foregrounded and formidable, supported by a lush array of acoustic orchestration and processing, collaged percussive patterns, and an esteemed cast of coll…

*2025 stock* All music composed, performed, recorded and mixed by Lucrecia Dalt. Guitar, drums and backing vocals on "No One Around" and drums on "Chasing Heather" and "Chasing Dee" by Alex Lázaro. Tape loop on "Leonids' Temple" by Aaron Dilloway. Mastered by James Trevascus at Bakewell Audio.

A prolific and limitless musician, performer, composer, and sound artist, Lucrecia Dalt challenges both genre and form, pulling apart familiar elements of pop and experimental music and reassembling them in unexpected ways. Breaking through to a wider audience with her acclaimed 2022 album ¡Ay!, Dalt has also made a name as a composer for film and TV, including her original, acclaimed scores for HBO’s series The Baby, Cannes 2024 feature film winner On Becoming a Guinea Fowl, and the forthcoming…

Limited edition of 200 hand-numbered copies. All include an additional art card on 300gr satin-paper. Packaged in clear vinyl sleeve with folded insert. With the obsolescence of storing and reproducing media devices, a lot of information becomes unavailable and inaccessible but does it mean it has ceased to exist as information? What happens with a film whose last copy is in Beta tape when it can no longer be reproduced? On the second semester of 2014 Bruno Duplant and David Vélez started to dia…

*2024 stock. 170 (hand-numbered) copies limited edition* "The genesis of this project is a conversation between Bruno and David about making music in current times of social and environmental crisis. This dialogue prompted an exchange of recordings, found sounds and other sonic material, advancing two pieces. Artistically, Bruno perceives himself as a pessimist acknowledging the presence of this thinking in his abundant music production, which is mainly collaborative. However, David perceives Br…

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…

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…

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…

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, …

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…

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…

**200 copies** "For my collaborative piece Our Seasons Reverse I used recordings captured in Waziers, Saint Nazaire, Calais, Lille, Roubaix, Paris, London between 2017 and 2018. These recordings compiled a number of events that included museum visits, various walks by the sea, in the forest, under the rain, in the wind. I also play some organ parts. The link between all was the natural elements which are unleashed, all that could express that the climate is disrupting, that our seasons reverse, …

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…

'In April 2011 David Vélez invited Simon Whetham to Bogota to run a field recording workshop at the Nacional University as part of the Masters in Fine Arts that Vélez was taking. They also planned to work together outside the workshop, a major part of this exchange being to visit the Colombian Amazonas to record, explore and collaborate - capturing sounds and sharing experiences. During the trip, they were removed from their comfort zone and endured the rigors of the jungle in different situatio…