Lucrecia Dalt 2022 became known with her album ¡Ay!. Where she had previously followed a more experimental approach on Antimers and No Era Sólida and gave the pop less space, the pendulum sophisticated evenly on both sides three years ago. It remains on A Danger to Ourselves, only Dalt presents itself in her most artistically perfect form. This may also be due to the fact that it does not obtain inspiration for her current work from South American legends or fictional narratives, but “from the complexities of interpersonal connections”.
Recommendations of the editorial team
Born in Colombia, the experimental artist and singer, that runs through her entire work, is difficult to nail on a genre. Also through her entire work, however, a profound sensuality runs, no matter how morbid, ranged or abstract the sources of inspiration that pours Dalt into music. A danger to ourselves should be her most dramatic album so far, not only in the emotional, also in the literal, scenic sense: Dalt, who is called López with actual surname, speaks and sings her vocals with dreamwalking self -confidence, with an fearlessness that evades on this side parameters: on “No Death no Danger” she does this with the greatest possible registry Moods: aggressive, demanding, steadfast, and absolutely confident.
Lucrecia Dalt does not have to be loud, attention does not have to be offensive
As on the rest of the album, Alex Lázaro, whose drumming the empty spaces, joins into Dalt, serves as the foundation. “Hasta El Final” in the album in the album, as designed for the very large canvas, seems almost as well as with classic score – in all matters, a demonstration of power of an artist on the height of her creative power: the handle structure, the dramatic strings, dalts fragile voice, which is cut in self -abandon, flushes out at the end of the rain and thus seals a big pop moment of this year.
Morbider is approaching the “Cosa Rara” opener, which Dalt shares with David Sylvian. Through gentle claps and subtle bass play – again one of these ideal arrangements that offers the basis for the great, sensual theater, staged Dalt – the singer moves apathetic but sighted eye for a car accident. Sylvian then appears crystal clear to the front and aptly compares a broken relationship with a drug withdrawal. The fact that this song only gets the start of a Danger to Ourselves is a prophecy and program. The gem “Amorcito Caradura” then dissolves this excitement at short notice and reveals Dalt’s soft spot for South American music traditions.
Lucrecia Dalt, who decides to Spanish or English depending on the song, does not have to be loud, attention does not have to take an offensive claim, she now also gets it automatically on album length, while her voice is winding through the accentuating baton, gentle guitar playing and stroking – and with fatal seriousness with the colors of human desires and emotional.
This review first appeared in the MusikExpress 09/2025.