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Radio FM4, May 2019

Future Pop: So startete das 2. Wochenende beim Donaufestival
In der Minoritenkirche Krems sitzt die Musikerin Lucrecia Dalt auf der Bühne und spielt sich in liebevoller Akribie durch die luftigen Kompositionen ihres Letztjahres-Meisterwerks „Anticlines“. [...] Ihre Stücke wabern als minimalistische Ambient-Wolken durch die Luft und zerbersten bei der ersten menschlichen Berührung zu Staub. Sie suggerieren, dass Lucrecia Dalt von einer Welt weiß, von der wir anderen einstweilen nur träumen können. Wer das zweite Donaufestival-Wochenende beispielsweise bei diesem Konzert begonnen hat, hat schon gewonnen.

Zitty, August 2018

Weiteres Highlight: Die kolumbianische Wahlberlinerin Lucrecia Dalt, die für ihre dunklen Synthesizer-Klänge weltweit gefeiert wird, führt das Stück „Synclines“ auf – und schließt an ihr aktuelles Album „Anticlines“ an. Sollte es genauso kühl und maschinell klingen wie das Referenzwerk, dürften die Avantgardejünger*innen in schwarz begeistert sein.

Secret Thirteen, 2018

Lucrecia Dalt maintained a similar tone of intimacy, though it was one of those rare performances that perhaps required a smaller space. Her spoken word passages echoed in the softly-toned droney loops, carrying the listener into her otherworldly space.

Tip Berlin, August 2018

Bei den Live-Künstlern kann man sogar noch mehr Frauen im Programm finden. So bekommt am Eröffnungsabend die Kolumbianerin und Wahlberlinerin Lucrecia Dalt die große Bühne des Kraftwerks für sich, um mit „Synclines“ eine neue Live-Version ihres jüngsten Albums „Anticlines“ zu präsentieren – vorgestellt hatte sie ihre abstrakte Poesie zu spartanischen Synthesizer-Loops im Frühjahr beim CTM im deutlich intimeren Rahmen des HAU1.

Festivall App, 2018

The experience of seeing Lucrecia Dalt live blurs the boundaries between the studio, the stage, and the live recording. Weaving together loops of atmospheric melodies created using various instruments like guitar, bass, computer, midi controllers, voice and percussion, as a result, over time the songs continue to evolve and incorporate experiences and environments.

Berliner Zeitung, August 2018

Bereits zu Beginn der Berliner Festival-Saison sahen wir die Berliner Kolumbianerin Lucrecia Dalt im Juni das Torstraßenfest bespielen; im Vergleich zu jenem recht intimen Konzert ging die verspielte Detailliertheit ihrer elektronischen Melancholie-Meditationen im riesigen Hauptsaal des Kraftwerks ein wenig im Betonwand-Hall unter. Auch schien es, als habe Dalt sich ein wenig den Bewegungsbedürfnissen des Publikums angepasst und mehr auf mitschunkelbare Loops gesetzt als auf freieres Spiel. Nichtsdestotrotz – auch im Wiederholungsreichen hat Dalt einen besonderen Touch, gerne schunkelte ich mit!

Resident Avisor, July 2018 (interview by Maya-Roisin Slater)

This in mind, it's no wonder Dalt compares her method for building songs to strata—layers of soil and rock formed at the earth's surface that, while occupying space as one, maintain their own individual characteristics. From cavernous metallic clamours to pitched up ethereal rings, the elements that form a Lucrecia Dalt track are all given enough space to stand on their own, but pressed together to form a new aggregate terrain. Dalt

Fact Mag, 2018

A former geotechnical engineer from Colombia currently based in Berlin, Lucrecia Dalt has a unique approach to electronic music. Since 2005, she has challenged the rigidities of form, experimenting with South American rhythms, unusual vocal phrasing and innovative electronic techniques. Steph Kretowicz digs deeper into Dalt’s relationship with geology and musical experimentation.

Silent Frame, 2018

Lucrecia Dalt is an electronic music producer whose compositions are known for their textural experimentation and conceptual underpinnings. Dalt has taken inspiration from sources as varied as New German Cinema and Colombian myth, and her albums have received acclaim from publications including Pitchfork, Tiny Mix Tapes, and XLR8R. Her collaborative projects include Terepa – in which she composed ‘telepathically’ with musicians including Laurel Halo and Julia Holter – and, more recently, her work with artists Regina de Miguel and Henry Andersen. Dalt’s sixth album, Anticlines, was released on RVNG Intl. in May 2018. Influenced by her previous profession as a geotechnical engineer, it combines elements of minimalism and the avant-garde with spoken word.

Musikexpress, June 2018

Atonal 2018: Das sind die Highlights
...Die kolumbianische Soundkünstlerin Lucrecia Dalt feiert die Weltpremiere ihres „Synclines“-Projekt, das auf ihrem aktuellen Ambient-Album ANTICLINES fußt.

The 405, June 2018

Anticlines, the sixth studio album by Lucrecia Dalt is an experimental marvel. A melding of voice and instrument that creates alien, yet familiar soundscapes that could easily soundtrack high-concept sci-fi that explores the nature of humanity. Indeed those very ideas permeate throughout the album, which explores the self and where that begins and ends.

RVNGNL47_Press_Folder, June 2018

Fact Mag, May 2018

Tons of FACT-friendly names.
Berlin Atonal has announced its first batch of names for 2018 with Actress, Lucrecia Dalt, British Murder Boys and more set to perform at the five-day event. Taking place between August 22 and 26 inside the cavernous environs of Berlin’s Kraftwerk building, the festival will host the premiere of Dalt’s new live project Synclines, based around her recent Anticlines album, while Actress will present a live A/V show.

Threshold Magazine, May 2018

Lucrecia Dalt regressa a Portugal depois de um jejum de 4 anos. A compositora colombiana que se dedica à exploração dos limites da pop e da IDM editou ainda este mês o LP Anticlines (o qual conta com o selo de qualidade da RVNG) irá apresentar de norte ao centro do país. Abaixo ficam as datas da digressão portuguesa de Lucrecia Dalt e ainda o vídeo de "Edge", single retirado de Anticlines.

Metacritic, May 2018

The sixth full-length release for the Colombian experimental producer features spoken-word sections she created with Henry Andersen."

Musikexpress, May 2018 (review by Albert Koch)

Dalt wird auf ANTICLINES zu einer Erzählerin, die in einer Art Sprechgesang geologische Topoi verbreitet, von Meteoriten, Teer, Bergen und vom indifferenten Universum berichtet, um die Beziehungen der Menschen zu/von der Erde aufzuzeigen. Eingebettet in diese Erzählungen ist eine Musik, die in Abkehr von früheren Dalt-Musiken (Drone, Ambient, Minimal) eine Art mikrotonalen Minimalismus feiert. Mikroskopische Sound- und Rhythmusfragmente formieren sich zu Avant-Pop-Kunstliedern, die trotz ihrer betonten Andersartigkeit dem Format Song nahestehen. Die Zukunft ist nicht nur weiblich, sie ist im Idealfall auch keine Wiederholung der Vergangenheit.

The Wire, May 2018 (review by Emily Bick)

A former geotechnical engineer from Colombia now residing in Berlin, Dalt explains to Emily Bick in The Wire 411 that “in an anticline, you have the old strata on the bottom and the new strata on the top, and when an anticline happens, because of the compression on both sides, the strata that is the oldest is coming to the centre and sometimes it can be revealed.

The Quietus, May 2018 (review by Alex Weston-Noond)

Sound artist and former geotechnical engineer Lucrecia Dalt talks to Alex Weston-Noond about comets, the unhuman and her new album on RVNG Intl. - Anticlines. “I’m gathering up skins. I’m gathering up skins and blowing them up like balloons.” These are the two lines that open Lucrecia Dalt’s debut, Anticlines. They are in reference to the El Boraro, a creature in Colombian folklore.

Heepro, May 2018

De retour avec son sixième album studio, Lucrecia Dalt est une artiste colombienne qui réside désormais Berlin. Inexorablement, je pense que vous n’entendrez pas une musique aussi particulière cette année, et affirmons carrément que ce genre d’albums est aussi rare que bénéfique.

Tiny Mix Tapes, 2018 (review by Rowan Savage)

In Gilles Deleuze’s The Logic of Sense, the Little Girl, concerned with the realm of surfaces, is contrasted with the Schizophrenic, the explorer of depths and the body. Anticlines is what happens when the two meet — if that is even possible, if there are, in the first instance, two separate subjects who then encounter each other (and if the listener can encounter sound). But if they can — how? That is also Anticlines.

Pitchfork, May 2018 (review by Philip Sherburne)

Over the past decade, the albums of Colombian musician Lucrecia Dalt have moved steadily away from playfully experimental indie pop into increasingly deeper levels of abstraction.

Resident Advisor, May 2018 (review by Angus Finlayson)

An anticline is a fold in the landscape caused by tectonic plates squeezing together stratified rock. As Lucrecia Dalt, who worked as a geotechnical engineer in her native Colombia, explained to the Wire recently: "In an anticline, you have the old strata on the bottom and the new strata on the top […] Because of the compression on both sides, the strata that is the oldest is coming to the centre and sometimes it can be revealed."

XLR8r, April 2018 (review by Daniel Cole)

Colombian experimental producer Lucrecia Dalt makes extremely contextualized music buried in layers of abstract surrealism. Similar to the processes of an installation artist, each body of work evolves its thematic content further. Anticlines, her sixth LP—and first for RVNG—is designed with a multi-disciplinary framework in mind, featuring scripted poetic vocals that tie together Dalt’s background as a civil engineer with philosophical questions about society’s relationship with the world.

AQNB, April 2018

Life on mars: Lucrecia Dalt on breaking the supremacy of hierarchical bodies in the geological experiment of Anticlines. Much of what concerns Lucrecia Dalt is beyond comprehension.

cement magazine, April 2018

...If you want to hear Martian traces found in the Antarctica embedded by meteorite ALH84001, check out Lucrecia Dalt's upcoming album via Rvng Intl. on 4 May ...

Berlin Art Link Magazine, Feb 2018

DB: In your previous albums, your voice was used as a melodic undertone. In this live performance, however, you took it to another level: storytelling. What is your take on spoken word in music?

LD: I’ve often wondered about a form of singing that would flow from another part of my consciousness, and I have a basic fascination with spoken voices. When you analyse people speaking, it’s amazing how ample the modulations are within the same voice. In situations of excitement, the voice sings more; when you are sad, the modulations are maybe less pronounced. I concluded that speaking can be a really complex form of singing, by being conscious of the tone, the pace, the micro shifts in the range and the pitch of the voice. These are all unconscious decisions while speaking that I try to make conscious in my work. As for the text I used in the show, it was made in collaboration with Henry Andersen, an Australian artist and composer who is now based in Brussels. We sat together for a whole weekend discussing and writing about edges and boundaries in different scenarios like the heliopause, or the folds of the earth.

The Wire Magazine, Oct 2017

Jason Grier, the founder Human Ear Music / HEM, has released the work of musicians such as Lucrecia Dalt, Julia Holter and Nite Jewel.
In this 20 minute production, Jason Grier and writer Annelyse Gelman read from several texts by Gelman. Throughout the piece there are excerpts from her poems Power, Equus, Observatory, Wake and Box Fan, which are soundtracked by various HEM sound library clips including recordings by Lucrecia Dalt, Julia Holter, and Hogir Görgen.

GROOVE, March 2017

"... Viola Klein hatte schon Anfang des Jahres mit einer tollen kollaborativen EP auf dem Meakusma-Label begeistert, Jan Jelinek und Masayoshi Fujita bringen ihre knusprigen Vibraphon-Vibes ebenfalls vors Publikum und auch Lucrecia Dalt wird mit ihren tiefen Bassfrequenzen den Raum ausloten ..."

RADIO PANIK interview with Lucrecia Dalt and with Mary Ocher

Electronic Beats, 07.04.2016 :

...We, multiple, are invited to give appreciation to this work. An album-made-video. A video made album. An infernal documentation of some sort. We managed to survive without getting burned. We rest our experience at the center of the lens.

Pitchfork, 18.01.2016 :

...Experimental electronic artist Lucrecia Dalt explores uncertainty. It's what she does best, with curiosity and a self-effacing confidence; it's no coincidence that the title of her fifth record literally translates to "or" in Portuguese. It’s an album of options, expectations, and the lingering hope that occurs when there’s a possibility of something better. Dalt repurposed her studio as a makeshift theater to screen films by Rainer Werner Fassbinder, Helke Sander, and other New German Cinema greats and Ou's cinematic feel is the direct result. ...

HHV Mag, 14.01.2016 :

Der Klang des fallenden Baums
...In seinen Grundzügen sind das ähnliche Überlegungen, wie sie die philosophische Strömung des sogenannten spekulativen Realismus anstellt und die sich auf ein altes Zen-Rätsel reduzieren ließen: Wie klingt ein im Wald umfallender Baum, wenn niemand dabei ist, um das zu hören? Soll heißen: Wie sähe die Welt aus, wenn wir sie nicht durch den Bauchnabel unserer subjektiven Wahrnehmung betrachten würden?

SPEX December 2015

...Auch wenn einem diese Musik nicht gleich noch die Mühe des Hörvorgangs abnimmt, reicht sie einem doch die Hand. Ein wenig ist es mit ihr wie mit tollen Menschen: Wie lange man sie auch kennen mag, stets bewahren sie einen Rest der aufregenden Fremdheit des Beginns. ...

CD Starts, 12.12.2015 :

...Lucrecia geht es um Psyche und Physik, die Titel der Stücke drehen sich um Magnetismus, seelische Energie, Tachyone und generell um „Loslassen“. So gewinnt „Ou“ etwas dokumentarisches, man fühlt sich als Beobachter, der hypnotisiert versucht auf Basis von Geräuschen komplexe Prozesse zu begreifen. So scheint das Album viel mehr von Dokumentarfilmen der 60er Jahre beeinflusst zu sein, Direct Cinema statt Neuer Deutscher Film. ...

Tiny Mix Tapes, 05.11.2015 :

Let’s talk about it, friend. It’s called Ou, and it’s out December 8. It’s reportedly something of a departure form her work up until now. Described as more “filmic,” she apparently turned the recording studio into a bit of a cinema, showing New German Cinema films by the likes of Helke Sander and Werner Schroeter.

Ableton, October 2014 :

Lucrecia Dalt: Das cineastische Ohr

...„Paralela“, der Opener der LP auf Care Of – beim Aufnehmen lief „Der Rosenkönig“ von Werner Schroeter. Ich machte den Filmton nach eine Weile aus. Um mein Klanggedächtnis zurückzusetzen, hörte ich etwas anders und begann anschließend eine neue Komposition – orchestrale Sounds aus dem OP-1, die ich mit dem Effektpedal Moog Murf zu einer Akkordfolge erweiterte. Dabei ließ ich mich von den theatralischen und überfrachteten Bildern des Films inspirieren. Die Stunden vergingen. Ich verglich meine Aufnahme mit dem Sound des Filmanfangs und stellte fest, dass er das Element war, das die Struktur meiner Aufnahme bestimmen würde. Sowas funktioniert nicht immer, aber in diesem Fall hat es geklappt. ...

Ableton, 14.09.2014 :

According to conventional wisdom the ideal working environment for a musician is free of external stimulus. Indeed, some of us go to great lengths to isolate ourselves from any kind of sensory distraction – be it visible, audible or otherwise. The assumption being, the less there is coming in from the ‘outside’, the more we can bring out from the ‘inside’. But what happens when a musician turns this scenario on its head, introducing a constant stream of audio-visual stimulus into her workspace?

Pitchfork, 13.09.2014 :

She appears just as interested in non-musical forms as in the pleasant whistling that surfaces toward the end of the track...

Noisey, 12.03.2014 :

Lo de tener el computador al lado es una decisión que tomé hace un tiempo porque me gustaba la idea de que tuviera menos importancia en el escenario, ya que yo sólo lo uso como procesador de sonido y con los controladores no necesito interactuar físicamente con él.

The monitors, 13.07.2013 :

Film became increasingly relevant when I was making the Commotus album, but I was thinking more about imaginary landscapes then, whereas on the new album, film played a key role. I picked around 10 movies I’ve been heavily resonating with during the past year. While recording I used to play these movies on mute and sometimes just randomly, I was turning up the volume for a second while playing back the stems I was working on. Since I am not having any collaboration from other musicians on this album, these movies became the external shifter elements...

RBMA, 04/2011 :

Rescued From The Fire: Lucrecia Dalt
To start with, I've always been quite inconsistent in my musical taste, and there are probably records I would have saved a couple of years ago, that today I would even enjoy setting on fire myself. But if the house catches fire tonight, and I am quick enough to pick a record that I've been listening to carefully lately, that would be Perez Prado and Shorty Rogers' Voodoo Suite.

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