MUTEK.Mag
Interview

MUTEK.ES Previews: Getting to Know… Lucrecia Dalt

Performing at A/Visions 1: Livesoundtracks, Sala Apolo // February 8th

Teresa Vallbona - January 17, 2012
MUTEK.ES Previews: Getting to Know… Lucrecia Dalt

photo by Catalina Pérez

Lucrecia Dalt creates a whimsical, star-spangled indie-electronic experience that blurs old-fashioned distinctions between studio and stage, performing and recording. Cooking up late-night lullabies with a finely tuned setup of guitar, laptop, bass, voice and percussion that ranges from floor toms to kitchen chairs and programmed beats,  she's not content with just hitting play on a bunch of loops. As a result, her songs keep evolving over time, gaining experiences as well as changing moods and surroundings finding their way into the music.


Having moved to Barcelona from Medellin, Colombia, she has kept refining her approach – sometimes with a live drummer or a backdrop of visuals thrown into the equation – while always keeping tight control of her output. So after contributions to the third 4 Women No Cry EP, curated by Gudrun Gut for Monika Enterprise, she set up her own label, Pruna Recordings, for her debut album, Congost.


Lucrecia Dalt will perform at the A/Visions 1: Livesoundtracks, alongside Vladislav Delay on Wednesday, February 8th,  at Sala Apolo.

 

TV: Portable guitar, percussion and midi controllers. Sometimes we talk about your music as a mix of indie and electronics.  How would you define your work? Is it more electronic, more indie, or is it a mix?


LD: Categorizations have always come from outside, I prefer that the music finds its place and speaks for itself without them. I like to embrace change, I like to generate new questions each time I work on new music. Lately my work is an exploration of states of mind, trying to turn sensations into music and create mental images through my lyrics.


TV: Your songs often incorporate experiences and environments. Where do the sounds come from?

 
LD: This has been changing over time, before the environment was more evident, or let's say the inspiration came almost directly from it.  Now my work is built around the mental structures formed while mapping the input I have: movies, images, texts, relationships. I like to generate a content with a provocative twist, making you doubt how serious am I about it, both through the music and the lyrics.

 
TV: In 2010, you participated in the Red Bull Music Academy. What did it mean professionally to pass through the academy?

 
LD: The academy is an incredible experience, an unexpected amount of knowledge. To get to know that many talented people and their experience in music, is certainly the best school someone can have because it helps to structure or restructure, create new concepts, new ways of making music, and also to find new personalities you never knew you had. Is 15 days to expand your limits, exposed constantly to extremely valuable information and to collaborate with very talented people.

 
TV: In 2009, you published Congost on your own label, Pruna Recording. Are you working on a new album?

 
LD: Yes, a few weeks ago I finished recording my new album. Some things still have to be defined about the release but I can say this should be around March/April. The concept of the album develops around Agitation, both on internal and external levels, in a way is a compilation of "wake up calls" made with melodies that could sometimes remind bolero or exotica music and rhythms.

 
TV: Tell us about your performance at MUTEK.ES. What should the crowd expect?

 
LD: I will participate in the festival as part of the LiveSountracks project (A/Visions 1). This means it will be a special presentation, an atypical concert. Is a soundtrack I'll perform live based on some images of the german director Werner Herzog that really moved me when I first saw them. Following the criteria "Wake up, the world belongs to us" proposed by the project director Anna Mastrolitto, I chose a documentary that explores images of the devastated oil fields after the first Gulf War, decontextualized in such a way as to emphasize the terrain's cataclysmic strangeness as if it was perspective of an almost alien observer. I am preparing a soundtrack in which I use electric guitar, bass, vocals and some drum lines, progressively recorded real time. It’s a very exciting project!

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