Commotus, by Lucrecia Dalt

Commotus

by Lucrecia Dalt

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Deni Double Wow a recent discovery & I love it all, the voice the rhythms the significance.Working my way through the back catalogue. Wish I’d discovered earlier & could have attended gig at Londons cafe OTO. Favourite track, Turmoil. Favorite track: Turmoil.

Lost Tribe Sound I'm a little late to the party when it comes to Lucrecia's music. Firstly, I'm left asking myself why so many synth based musicians are using that shit improperly. Dalt has total command over that instrument, every lick of synth is engaging, tactile, and wholly-unique in the way it bounce around my ear drums. Add in the smokey murmuring vocal and slinky broken drumlines and the spell is complete.

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1.	Saltación 03:24
2.	Escopolamina 04:05	lyrics
Tu, ¿qué ves? tu, ¿qué miras? tu qué, ¿me vas a dar escopolamina? Uh, voy a volar uh, en segundos tu, vas a adorar verme a tus pies.
3.	Turmoil 03:30
4.	Conversa 03:20
5.	Multitud 02:17
6.	Jet 00:42
7.	Esplendor 04:12
8.	Mohán 04:34
9.	Silencio 03:01	info
10.	Do I Dare Disturb Your Dreams? 01:33
11.	Waste of Shame 01:00		buy track
12.	Batolith 08:21	lyrics
Let me brake your ecstasy my love you forgot that I don't obey to your linear truth you forgot that I have the felsic spring powers surprise! surprise! I'll disrupt your narrative and alter your flattened landscape sorry about that!

about

Today, we seem to have two branches in the school of experimental pop. One branch privileges object-hood, richness of surface, and mass-hallucinatory quotation. The other (much less celebrated) branch seeks to recapture authenticity in the form of a highly personal hallucination of music history.
With her sophomore full-length, Lucrecia Dalt follows the latter branch as far as it seems to go. She leaps into a surrealist landscape with stunning abandon, eschewing the comparatively safe tropes and song structures of her previous work. And she charts a surprisingly inventive and rewarding territory in the process. Much as it is with her newfound contemporaries at HEM Berlin, for Dalt, solitude and assemblage (of sound, genre, musicology, technique) is an exploratory zone steered toward the inner universe. To follow the music, one must be prepared to make this trip as real as sound itself.
Themes of agitation and disturbance, cumulative, impending and scalable, propel Commotus, and create a framework for understanding its emotional spectra. The music lives in the contradiction between having time to reflect on the inevitable, and the irrevocability of its outcome.
Dalt, who is a civil engineer with a specialty in geotechnics, knows that motion on a geologic time scale can be the most poignant analogy to the interminable struggle between self-awareness and sea change.
Text by Jason Grier.

credits

released September 6, 2012

Recorded and mixed by Lucrecia Dalt in Barcelona.

Originally released by Human Ear Music on vinyl and CD.

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Lucrecia Dalt Berlin, Germany

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