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The tracks on Lucrecia Dalt’s latest album »¡Ay!« are raw yet elegant at the same time. They are often reminiscent of the familiar sounds of South American music. But here,
The tracks on Lucrecia Dalt’s latest album »¡Ay!« are raw yet elegant at the same time. They are often reminiscent of the familiar sounds of South American music. But here, you’re looking at that through a magical kaleidoscope.
Fragments of salsa rhythms, son cubano in slow motion, the characteristic brass sounds of merengue breeze by, airy flutes circle around, and finally Lucrecia Dalt’s voice, distant, enraptured and yet centring the music sweetly and intensively. It’s as if you were experiencing a club night with South American DJs in someone else’s body and with someone else’s ears.
That effect is a key element in the concept of the album »¡Ay!«. A cosmic being (Preta) experiences earthly physicality for the first time, the pressure of gravitation, the flow of time, the play of air molecules we humans call »hearing«. Lucrecia Dalt is playing a game with perception, memory and audio clichés. Here, something wonderfully ambiguous is added to the »exotic« element that one might normally attribute to the music of her Columbian homeland.
Lucrecia Dalt initially worked in Médelin as a geotechnical engineer before the German DJ and music producer Gudrun Gut (»Kaltes Klares Wasser«) encouraged her to focus more on music. Since then, Dalt has been working on the intersection between experimental music and South American songwriting. In 2021, she wrote the soundtrack to Sam Walker’s body horror film »The Seed«
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