Spanish-born and Berlin based producer Lucrecia Dalt is entering a new era of creative freedom. Being the latest signee of Other People, where she has just released her first self-titled 2-track EP, has undoubtedly enhanced her creative process, enabling her to step into the realm of pure sonic experimentation. Dalt’s minimal compositions combined with the breathy vocals in her mother tongue give the new tracks “Esotro” and “Veta” a fresh re-introduction to her music. An artist who definitely knows how to stay innovative, sophisticated and original. Stay tuned as Lucrecia Dalt is here to shake the waters of contemporary music once again.
You’ve been producing music for nearly a decade (2005-2014), is there something you’ve learned or changed over the period of your four studio albums both as a producer and as a person?
I don’t remember having loud thoughts before, they started around the time I made Syzygy. I learned to deal with my limitations and from there do my best with what I have at each moment. I’ve been able to collect machines that help me realise all this. Two days ago I learned that all I need now is a Copicat IC-400 to finish what I need.
I’ve perfected my technique to roll cables, and make sound engineers scratch their heads.
Berlin, London and Spain. Which place has been the most influential in your opinion and has affected your music the most?
All of them. I get affected by the very specific situations any city can randomly bring. The moving and morphing cluster of a certain info I read juxtaposed with the thoughts shared by a friend, the humidity of that day, etc. will end up of course being related to a space. But in moments of creativity they come isolated and the space tends to disappear or remain just as a practical stage.
Your music is so unique it’s almost genre-defying. It feels very personal and more like an esoteric journey. How would you describe your music?
I’m not good at this. The past two records are indeed intended as journeys. The best description someone has made of my music was Felix Kubin. He might have used the word journey, he used the word “library”, I wish I had a recorder.
Music and vocals seem somehow separated and at times even completely isolated from one another. However, they blend harmonically in a way only you could have achieved. Is this something you’ve been working on a lot or is it a natural process?
I’m still wondering why there’s a need to include vocals in my music when I struggle so much realising them. I used to enjoy singing, I wish I could make vocals like Linda Perhacs, I know this won’t happen. I’m more into instrumental music lately. I hope I will be able at least to do stuff like a piece by Melody Summer Carnahan with Brian Reinbolt called “Tuesday 3AM“…
Walt Whitman once said “Simplicity is the glory of expression”. Your sonic pieces are so minimalistic, yet so rich. What are your thoughts on creating such pieces?.
The thought of making unstructured pop music has been there for a while. I was once listening to this “Nu.Wav Hallucinations” record by nmesh, where a 3 second excerpt of “Take My Breath Away” appears here and there. I started to think how unstructured the memory of this song was kept in my mind, like an arrangement in suspension, but still felt as a pop song. I structured “Esotro” with this idea in mind. It’s a pop song in essence without enough repetition or returning. As for “Veta”, I had other thoughts. I was inspired by the song “Om Supreme” by Alice Coltrane and the production process of the song “I’m Not In Love” by 10cc, how they created this 256-voice virtual choir by dubbing the voices of the band members play with a bed of noise from where other elements emerge and disappear.
“Syzygy” was –perhaps– the album that showed everyone who Lucrecia Dalt truly is. Did it show you any specific directions to follow for future releases?
The recordings I’ve made after “Syzygy” have been fed by this technique I’ve been using, which is to allow films to invade my workspace, tempting the twists and turns of the film narrative to push and re-shape my music production.
We recently found out that you are the new signee of Nicolas Jaar’s label Other People, how did this collaboration occur?
He wrote, I wrote back. I sent a demo, he liked it.
William Basinski recently remixed your track “Esotro”, which was shared earlier this week through Other People as a download. How does that make you feel?
What started as a long shot thought became a reality and my mind is adjusting to it, slowly. I have very strong memories while making “Syzygy”, lying in bed listening to the Disintegration Loops, dazed state of mind and this piece being the best antidote to that. I also admire his ideas about time and intense and attentive listening.
His approach to the remix is fantastic! It puts the song in another realm by reducing it, opposing that tendency of adding sounds and textures, but rather slowly uncovering the elements, let it unbuilt or efface until there’s only silence.
Many things have been written and said about your track “Esotro”. I fell in love with the second track of your EP “Veta” (which means “trace” according to my English-Spanish dictionary). Can you get me through the concept of this track?
Veta in spanish is also a thin layer that you could visually differentiate from the whole content of a surrounding mass. It is also a dedication to someone who had the capacity to consciously tilt the reality inside my house and I only noticed when I started to slide down. A question remains open on what will be there at the end, an edge, or..?
Your collaborations include artists like the phenomenal Julia Holter, the pioneering Gudrun Gut and the multi-instrumentalist F.S. Blumm. Have you got any plans on collaborating musically with Nicolas Jaar, too?.
No, but I’d be happy to do it.
Should we expect a fifth full-length album coming any time soon?
Which has been the most “weekid” experience you had while on tour?
The 69 absinthe excess in Luxembourg with the SUUNS.