FRACTURED AIR

The universe is making music all the time

Posts Tagged ‘Lucrecia Dalt

Chosen One: Lucrecia Dalt

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I wanted to explore edges and boundaries in any form; abstract, fictional, material, and by doing so I started to find metaphors I could use from concepts coming from geology like the anticline or the antiform which are ultimately disrupted or distorted hierarchical bodies.”

—Lucrecia Dalt 

Words: Mark Carry

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On the striking, near-prophetic album opener ‘Edge’, Colombian-born artist Lucrecia Dalt asks “How long does a body last without organs to fill it?” Dalt’s hushed spoken word passages beautifully float beneath foreboding synthesizer patterns, which conjures up a world that is both alien and uncanny. Lyrically, ‘Edge’ is centered on an ominous Amazonian mythological creature (El Boraro) under the surface of the earth. The breath, shape, pressure and pulse of this utterly transcendent journey of the self encapsulates the utterly hypnotic and visionary sound world masterfully captured in Dalt’s vital sixth studio album ‘Anticlines’ (released on Brooklyn-based imprint RVNG Intl).

Pulsating bass lines interwoven with altering frequencies of ‘Altra’ emit an otherworldly, trance-like state whose origins could be traced from some distant planet shores. Transmissions from unknown horizons. The lead single ‘Tar’ represents one of ‘Anticlines’s defining moments which combines Dalt’s unique rhythmic structures and bewitching avant pop melodies. The intimate vocal phrasing is one of the alluring aspects of the latest record’s far-reaching quality. ‘Tar’ ponders human dependence  on earth at the boundary of the heliopause. The sonic backdrop of the Berlin-based artist’s newly acquired Clavia Nord Modular creates mesmerizing, shape shifting sound worlds that orbit around Dalt’s poetic prose. A futuristic vision steeped in uncertainty somehow flickers into focus as Dalt laments “we touched only as atmospheres touch.”

Anticlines’ marvels upon the electrifying intimacy that permeates throughout the compelling song cycles. The meditative ambient gem ‘Atmospheres Touch’ infiltrates the pores of the human heart with each luminous electronic pulse. Reference points could be the modular synthesizer pioneers like Laurie Spiegel or Suzanne Ciani (or indeed Colleen’s latest synthesizer-based opus ‘A Flame my love, a frequency’).

Dark, menacing tones amass on ‘Errors of Skin’, a foreboding tour-de-force which sees Dalt’s further investigation “to explore edges and boundaries in any form”. Various manipulations of the visionary composer’s vocals further heightens the sheer intensity and uncertainty of what is unfolding before our very eyes. Dalt asks towards the song’s close: “Is it edge? Is it consciousness? Is it matter?”

The placing of instrumental excursions between the lyrical pieces sees the Colombian artist’s innate ability to fuse poetic theory and sound. Enchanting dubstep sounds are dotted across ‘Indifferent Universe’ whilst the gradual bliss of ‘Concentric Nothings’ creates a magical, hypnotic spell as Dalt’s mantra-like lyrics return like that of a faded, half-forgotten dream.

Liminalidad’s contemporary pop sphere feels like a distant companion to Julia Holter’s cherished songbook, with exhilarating choral motifs layered beneath dazzling synthesizer components. Elsewhere, the vocoder-based electronic gem ‘Eclipsed Subject’ permeates the liminal space, floating amidst the point of not knowing. ‘Anticlines’ is an utterly gripping and fascinating sonic exploration into the heart of human existence and the boundaries that lie therein.

‘Anticlines’ is out now on RVNG Intl.

https://lucreciadalt.bandcamp.com/

https://igetrvng.com/

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Interview with Lucrecia Dalt.

Congratulations Lucrecia on the incredible latest full-length ‘Anticlines’. Firstly, please take me back to the music-making process of ‘Anticlines’ and the recording sessions of this new collection of songs?

Lucrecia Dalt: For this album I worked rather differently than my previous ones. I started exploring a new synth, the Clavia Nord Modular. I designed and reworked patches for it, for processing and vocoding. While I was doing that, I was also making a document that I initially called “SUPER-EARTH” full of ideas, keywords, thoughts, pieces of text, images, transcripts from conferences. With that document I met my friend and collaborator Henry Andersen with whom I wrote the lyrics.  After having done that, I started to make the music with the previously made Clavia patches and the Moogerfooger. My first impulses or ideas are usually rhythmical ones, with very basic melodies, and having the lyrics I started to see how to incorporate them. Then, I arranged it all and mixed it.

In terms of the sonic palette utilized on ‘Anticlines’, the Clavia Nord Modular provided the perfect backdrop for these otherworldly, compelling electronic song cycles. Can you discuss this particular modular synthesizer and the new patches you created? What did your set-up consist of, in addition to the Clavia Nord?

LD: The set up now is a clavia Nord modular, my long-standing partner: the moogerfooger murf, an old siemens mic from 1930, computer, a revox tape recorder. There are different sound sources coming from the Clavia, the op-1 and my voice that feedback to other processes in the Clavia, the murf, the computer.  I wanted to work with effective gestures, one gestures is able to generate multiple sounds, rhythm and/or texture.


The poetic prose of the lyric-driven songs creates an utterly beguiling and shape-shifting sonic universe. I feel that your background as a geotechnical engineer has shaped much of this record. For instance, the absorbing lead single ‘Tar’ details human dependence on this planet and opener ‘Edge’ feels like a study of the self. Can you talk me through the writing process for you, and indeed the methodologies you have favoured when it comes to writing songs such as ‘Edge’ and ‘Tar’ (and vocal phrasing as a whole)?

LD: I went to visit Henry in Brussels, we spent a couple of days brainstorming ideas, sharing interests, playing adjective games, analyzing and destroying poems and lyrics by other artists, and then we started writing.

I wanted to explore edges and boundaries in any form; abstract, fictional, material, and by doing so I started to find metaphors I could use from concepts coming from geology like the anticline or the antiform which are ultimately disrupted or distorted hierarchal bodies. The piece “Edge,” explores skin as a possible trespassing medium of inter subjectivity; an obsessed lover wants to possess the view of the loved one, from within. In “Tar,” I was thinking about how far outward does our inner life could reach by bringing ideas directly associated to human existence to a place where they have no significance. Very similar to the rather pointless gesture of bringing the golden records outer space.

The intimacy of these sonic creations is immediately apparent and how intricately interwoven the electronic instrumental odysseys in counterpoint to the avant pop spheres. Can you discuss the sequencing of the record and indeed, the importance of atmosphere in your works? I have always felt this gripping tension and vital pulse of the human condition lies at the heart of some of your incredible records.

LD: Pulses, atmospheres, blurry boundaries were abstract ideas I wanted to explore sonically. Each piece explores something specific depending on what the composition asks for.  For example “Edge,” it started with a basic pulse, then the pulse suggested a confrontative monologue. Or “Atmospheres Touch,” I was trying to haunt the idea of an Italian song composed by someone like Alessandroni by using four vocoders or in “Concentric Nothings” I wanted to work with clusters of words that are sustained in the air that open to meaningful sentences depending on how you encounter them.

Were there certain reference points or particular sources of inspiration when it came to the inception of ‘Anticlines’? As a listener, it feels as if you are continually evolving and delving deeper into new terrain with each new release.

LD: The poetry of Alice Fulton in particular the poem “Shy one” which I discovered because of Karen Barad. I was also reading The thing by Dylan Trigg while making the album and that gave me a lot to think about, but specially lots to relate to as an engineer, or Hito Steyerl essays about the horizon.

Can you recount your earliest musical memories? At what point in your life did you realize the importance of music in your life, Lucrecia?

LD: Always, my mother was a record collector and was hiding speakers around the house, so we could hear music everywhere. I was growing up listening to Spanish ballads, boleros, folk music from Colombia, salsa. I was also very used to listening members of my family sing, play guitar, tiple, maracas.

Do you feel you have a guiding musical philosophy that lies at the heart of all the artistic works you create?

LD: I wouldn’t say so, as I’m very susceptible to changing ideas and positions and allowing for contradiction, I like to think of a bubble in which I throw ideas, possibilities, concepts that probably only make sense while they are inside of it. And I would try to work only with that encased material but bearing in mind that its material is skin-like, with pores, so still interconnected and somewhat open to the outside.

Lastly, what records have you been heavily immersed in of late?

LD: While thinking a moment about this, I just realized my listening habits have fractured since I’ve making my monthly radio show Pli, which is theme-based, so I’m searching, discovering and grouping music in this particular way… two records that I have been very much into lately are Laurent Fairon – Musique Isotype, Don the tiger – Matanzas (not out yet!), Franceso Cavaliere – Xylo-mania.

‘Anticlines’ is out now on RVNG Intl.

https://lucreciadalt.bandcamp.com/

https://igetrvng.com/

Written by admin

May 4, 2018 at 12:02 pm

Mixtape: Fractured Air – April 2018 Mix

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Our April mix contains brand new tracks from Rotterdam-based electronic artist Nadia Struiwigh (taken from her sublime Denovali full-length ‘WHRRu’; Grouper’s achingly beautiful and powerful studio album ‘Grid Of Points’; more new Kranky releases from the peerless Brussels-based ambient composer Christina Vantzou and California-based Dedekind Cut; the shape-shifting self-titled studio album from Bolivian American electronic composer Elysia Crampton; Inga Copeland’s latest musical venture under the alias of Lolina and Strut artist Idris Ackamoor & The Pyramids.

Also featured is the renowned Brooklyn music institution RVNG Intl: London-based cellist and composer Oliver Coates’ brand new techno-fuelled single – and first for RVNG Intl – ‘Charlev’ with a full-length due out later this year. Another new RVNG release is renowned Colombian-born composer Lucrecia Dalt’s bewitching new record ‘Anticlines’, containing immaculate contemporary electronic compositions interwoven with cinematic spoken word passages (released this Friday, May 4th).

Irish artists include: Cork-based trio Crevice who creates hypnotic darkwave infused ambient song cycles and renowned Dublin-based composer Seán Mac Erlaine’s essential third solo full-length ‘Music for Empty Ears’ (recently released on the Ergodos label).

 

Fractured Air – April 2018 Mix

01. The Books“Group Autogenics 1” (Tomlab)
02. Japan Blues “The Sun Goddess Steps Out In Old Asasuka” (Japan Blues)
03. Nadia Struiwigh“Bldrnner” (Denovali)
04. Flame 1“Fog” (Pressure)
05. Solid Space“A Darkness In My Soul” (Dark Entries)
06. Dedekind Cut“De-Civilization” (Kranky)
07. Cindy Lee“Power And Possession” (W. 25TH)
08. Martyn Heyne“Patina” (7K!)
09. Broadcast“Come On Let’s Go” (Warp)
10. Yo La Tengo“You Are Here” (Matador)
11. The Ace Of Cups“Music” (Ace Records)
12. Idris Ackamoor & The Pyramids“Tinogue” (Strut)
13. Count Ossie & The Mystic Revelation of Rastafari“Sam’s Intro” (Soul Jazz)
14. Gloria Ann Taylor“What’s Your World” (Luv N’ Haight)
15. Ms. Jade“She’s A Gangsta” (Beat Club Records)
16. Elysia Crampton“Nativity” (Break World Records)
17. Walter Verdin“A Million Miles” (Stroom)
18. Oliver Coates“Charlev” (RVNG Intl)
19. Matt Karmil“Sloshy” (Smalltown Supersound)
20. Lolina“Betrayal” (Bandcamp)
21. Christina Vantzou“Garden of Forking Paths” (Kranky)
22. Lucrecia Dalt“Tar” (RVNG Intl)
23. Harry Belafonte “Dark As A Dungeon” (RCA Victor)
24. Rauelsson & Erik K Skodvin“The Return” (Sonic Pieces)
25. Seán Mac Erlaine“The Melting Song” (Ergodos)
26. F Ingers“All Rolled Up” (Blackest Ever Black)
27. Crevice“Endless Bliss” (Fort Evil Fruit)
28. Sarah Davachi“At Hand” (Recital Program)
29. Grouper“Breathing” (Kranky)
30. Coil“Going Up” (Important Records)

 

Fractured Air x Blogothèque – S1E1| January mix

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We’re delighted to present the first in a new series of monthly mixes made for Paris-based music website La Blogothèque. Over the last six years, La Blogothèque has been a source of much inspiration, not least in how they showcase (and share) their true passion for music. While each mix will be published on La Blogothèque’s website, we will also post the mixes on our own Mixcloud Page. While we had made the decision to stop Fractured Air last November, the opportunity that presented itself with contributing for La Blogothèque gave us reason to resume – in the capacity of contributing mixes – for the coming months. We hope you enjoy them.

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Fractured Air x Blogothèque – S1E1| January mix

To Read/listen on La Blogothèque:

 

Tracklisting:

01. fLako ‘The Opening / Purple Trees’ [Five Easy Pieces]
02. Ennio Morricone ‘La Musica Prima del Massacro’ [The Hateful Eight OST, Decca/Third Man]
03. Mogwai ‘Hungry Face’ [Les Revenants OST, Rock Action]
04. David Bowie ‘Warszawa’ [RCA Victor]
05. Eduard Artemiev ‘Listen to Bach (The Earth)’ [Solaris OST, Superior Viaduct]
06. Brian Eno ‘Some of Them Are Old’ [Island]
07. Lucrecia Dalt ‘FLOTO’ [Care Of Editions]
08. WRY MYRRH ‘TWO’ [Soundcloud]
09. Nicolas Jaar ‘Fight’ [R&S]
10. Mick Jenkins ‘Alchemy’ [Cinematic Music Group]
11. Four Tet ‘Evening Side’ (excerpt) [Text]
12. Rocketnumbernine ‘Two Ways’ [Border Community]
13. Animal Collective ‘FloriDada’ [Domino]
14. Tortoise ‘Gesceap’ [Thrill Jockey]
15. The Space Lady ‘Major Tom’ [NightSchool]
16. Molly Nilsson ‘Tomorrow’ [Dark Skies Association, NightSchool]
17. Charlie Cocksedge ‘Corrour’ (excerpt) [Soundcloud]
18. Linda Scott ‘I’ve Told Every Little Star’ [Mulholland Drive OST, Milan]
19. Jonny Greenwood ‘The Golden Fang’ [Inherent Vice OST, Nonesuch]
20. Scott Walker ‘Duchess’ [Philips]
21. Tindersticks ‘Hey Lucinda’ [City Slang, Lucky Dog Recordings]

Compiled by Fractured Air, January 2016. The copyright in these recordings is the property of the individual artists and/or record labels. If you like the music, please support the artist by buying their records.

http://www.blogotheque.net/
https://fracturedair.com/

 

Mixtape: As Tears Go By [A Fractured Air Mix]

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As Tears Go By [A Fractured Air Mix]

To listen on Mixcloud:

https://www.mixcloud.com/Fractured_Air/as-tears-go-by-a-fractured-air-mix/

 

Tracklisting:

01. Georges Auric ‘O Willow Waly’ (‘The Innocents’ OST) [Finders Keepers]
02. Calexico ‘Dead Moon’ (‘Algiers’ Deluxe Edition) [Anti-/City Slang]
03. Norbert Glanzberg ‘La Sorcière’ (‘The Blonde Witch’ OST) [Finders Keepers]
04. Cheval Sombre ‘As Tears Go By’ [Trensmat]
05. the Marquis de Tren and Bonny Billy ‘Solemn 28’ [Domino]
06. Delia Derbyshire ‘Pot Au Feu’ [BBC Radio Enterprises]
07. Lucrecia Dalt ‘Esotro’ [Other People]
08. Tarentel ‘Home Ruckus: Double-Sided Air’ (Side B) [Type]
09. Dino Valente ‘Tomorrow’ [Tompkins Square]
10. Tindersticks ‘No More Affairs’ (Instrumental) [This Way Up]
11. Cat Power ‘Dreams’ [Matador]
12. Mica Levi ‘Love’ (‘Under The Skin’ OST) [Milan]
13. Rachel Goswell ‘Coastline’ (Ulrich Schnauss Instrumental Mix) [4AD]
14. Kevin Shields ‘City Girl’ (‘Lost In Translation’ OST) [Emperor Norton]
15. The Notwist ‘Sleep’ (Odd Nosdam Remix) [City Slang]
16. Lambchop ‘Low Ambition’ (Stratus Remix) [City Slang]
17. James Yorkston ‘Woozy With Cider’ (Jon Hopkins Remix) [Domino]
18. Nils Frahm ‘Them’ (‘Victoria’ OST) [Erased Tapes]
19. Sufjan Stevens ‘Fourth Of July’ [Asthmatic Kitty]
20. Alex North ‘The Truth/The Locket’ (‘The Bad Seed’ OST) [Finders Keepers]

A collection of some of our most treasured vinyl. The copyright in these recordings is the property of the individual artists and/or their respective record labels. If you like the music, please support the artist by buying their records.

To follow Fractured Air you can do so on Facebook HERE, or Twitter HERE.

Mixtape: I Had Too Much To Dream (Last Night) [A Fractured Air Mix]

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I Had Too Much To Dream (Last Night) [A Fractured Air Mix]

To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/i-had-too-much-to-dream-last-night-a-fractured-air-mix/

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Tracklisting:

01. Tape – ‘Dust and Light’ (Häpna)
02. Peter Broderick – ‘Walking/Thinking’ (Type)
03. The Notwist – ‘Lineri’ (City Slang)
04. Barker & Baumecker – ‘Spur (Clark Remix)’ (Warp)
05. patten – ‘Here Always’ (Warp)
06. Bibio – ‘Dye the Water Green’ (Warp)
07. The Gentleman Losers – ‘Mansion on the Dunes’ (Büro)
08. Vincent Gallo – ‘I Wrote This Song For The Girl Paris Hilton’ (Warp)
09. Julia Holter – ‘Try To Make Yourself a Work of Art’ (Leaving Records / Domino)
10. Hydras Dream – ‘Grandma’s Appearance’ (Denovali)
11. Illum Sphere – ‘Liquesce’ (Ninjatune)
12. The Space Lady – ‘I Had Too Much To Dream (Last Night)’ (Nightschool)
13. The Blue Rondos – ‘Little Baby’ (Pye)
14. Cate Le Bon feat. Perfume Genius – ‘I Think I Knew’ (Turnstile / Wichita)
15. Angelo Badalamenti – ‘Twin Peaks Theme (Instrumental)’ (Warner Bros.)
16. Lucrecia Dalt – ‘Batholith’ (Human Ear Music)
17. Jonny Greenwood – ‘Open Spaces: Suite from “There Will Be Blood” Performed by the Copenhagen Phil, conducted by Andre de Ridder (Deutsche Grammophon)
18. Birds of Passage – ‘Lonesome Tame’ (Denovali)
19. Christina Vantzou – ‘Sister’ (Kranky)

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The copyright in these recordings is the property of the individual artists and/or their respective record labels. If you like the music, please support the artist by buying their records.

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Fractured Air. The universe is making music all the time.

http://www.mixcloud.com/Fractured_Air

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Chosen One: Lucrecia Dalt

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Interview with Lucrecia Dalt.

“Inspiration is so confusing and it gets stranger with time.

—Lucrecia Dalt

Words: Mark Carry, Illustration: Craig Carry

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Last October marked the eagerly awaited new full-length release from the prolific Colombia-born, Berlin-based artist, Lucrecia Dalt. Entitled ‘Syzygy’, Dalt’s third album was released on the innovative independent label, Human Ear Music. The latest shape-shifting creation further showcases Dalt’s gifted talents and supreme artistry to create a deeply captivating cohesive body of work that seamlessly ebbs and flows into one’s consciousness. ‘Syzygy’, much in the same way as its mesmerising predecessor, ‘Commotus’, can be observed as a state of mind, above all else, where the album’s nine sonic creations undergoes a gradual metamorphosis that effortlessly forms a continuous cinematic movement. The aesthetic delight unleashed by the young artist’s masterful production skills and scintillating sonic palette (layers of synths, processed vocals, guitars) represents one of the hallmarks of Dalt’s three-dimensional worlds of sound.

A definition appears next to the title of ‘Syzygy’: “A state of total oscillation that effervesces from the sand and levitates like a mirage.” Like the album cover of ‘Commotus’, perhaps ‘Syzygy’ is the aftermath, the world that remains after such destruction and decay. Recorded in less than sixty restless days and nights in Barcelona — having to begin at 4 A.M. due to the noise bleed of the nearby metro station — Dalt composed spontaneously, creating a beguiling song-cycle. The magnetic field of the metro station interfered with the sound of the bass, making the sound unbearable, resulting in minimal use of bass on ‘Syzygy’. Inspired both by the theorists Walter Benjamin and Italo Calvino, and by the oeuvre of filmmakers such as Ingmar Bergman and Michelangelo Antonioni, nine tracks were born that would become Dalt’s glorious new work. The album was recorded by Dalt in Barcelona between November 2012 and March 2013, and mastered by Alain at One Million Mangos in Berlin.

Having supported Los Angeles-based singer-songwriter Julia Holter across Europe last Autumn, Dalt summoned enraptured audiences with her unique blend of hand-crafted soundscapes. A lovely parallel exists between these luminaries — Holter guested on 2012’s ‘Commotus’, playing harmonium on the track ‘Silencio’ — who craft similarly avant-garde pop creations that inhabit a magical realm-belonging to a space and time we have yet arrived upon. As ever, the timeless sound unleashed by Dalt pushes the sonic envelope with each timbre of sound, musical idea and graceful arpeggio.

The discordant notes of ‘Volaverunt’ seeps seductively into your veins as Dalt’s whisper-like voice asks, “Are we committed to the optical illusions of this isolated standpoint?” The healing tones of ‘Volaverunt’ re-enforces the central theme to ‘Syzygy’ of conjunctions and oppositions. The prologue — stated in words that adorns the beautiful album cover — depicts the following hypothesis: “are you in a hurry? see, the closer the conjunctions and oppositions, the more powerful the syzygy.” The album’s rich tapestry of sound discharges a cathartic energy that permeates throughout the interwoven layers and endless artistic detail. I feel the “mirages of glorious futures” drifts majestically beneath Dalt’s deeply affecting songs and with each glorious note and vocal register “a moment of time blind.” The listener becomes beautifully lost in the artist’s floating world.

A plethora of sources found its way into ‘Syzygy’. During the intense recording, the films of Antonioni and Bergman became “bandmates”  in a way for the composer — suggesting things to happen, in the process. A wonderfully spontaneous process ensued that culminated naturally into the masterwork of ‘Syzygy’. Films such as ‘Deserto Rosso’, ‘Daydream’ and ‘The Hour Of The Wolf’ guided ‘Syzygy’ along it’s path. The utterly transcendent dream-pop opus, ‘Vitti’ is a dedication to ‘Deserto Rosso’ actress Monica Vitti. The distress and loneliness suffered by Vitti’s character is transposed into the music of ‘Syzygy’. Elsewhere, Peter J. Carroll’s ‘Chaoist Models of the Mind’ ( and Italo Calvino’s ‘Six Memos For The Next Millennium’ are dotted across ‘Vitti’ and ‘Levedad’, respectively.

‘Murmur’ — one of the album’s centerpieces — contains ambient flourishes of cascading electric guitar tones (played by Luke Sutherland) combined with Dalt’s electronic wizardry. The lyrics of ‘Mirage’ are sheer poetry that further awakens one’s senses and heightens all that surrounds you: “I approach and you vanish away away away, I grasp you and you’ve left.” As the song fades out, a fleeting moment of unfathomable beauty has approached and vanished before your very ears. Such moments of radiance are always a stone’s throw away as the ceaseless ripples of ‘Syzygy’s stream of dazzling sound forever illuminates and inspires.

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Interview with Lucrecia Dalt.

Congratulations, Lucrecia, on the new record, ‘Syzygy’. It’s even more amazing than your previous ‘Commotus’ LP. I love how the album is filled with a sense of tension and uncertainty. It feels as if the music translates to a state of mind, and as a result, feels very human. I would love to hear more about the title of the album itself and the themes that comprises ‘Syzygy’?

LD: I run into this word once when I was reading about pataphysics, and the meaning lead me to think about possible ways to create music that could be separated in two to have two new pieces of music. But that experiment was limiting my creativity, but it opened like a parallel world of thought surrounding the process of making the record.

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I can imagine how you create music, especially as you layer so much instrumentation (voice, electronics, and organic elements) and the distinctive production sound you make your own. You must see music in a unique way when you approach making it?

LD: It’s strange because I used to listen more to melodies in my head that lead me to record, lately all this music is just the end result of hours and hours of working, or combining stuff, mimics of music I enjoy, mash-ups of demos. Inspiration is so confusing and it gets stranger with time.

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That’s very true. I must ask you about the wonderful process that served inspiration for ‘Syzygy’. Films such as ‘Deserto Rosso’ and Bergman films provided a canvas for your sound. What was it with these particular films that resonated for you, Lucrecia?

LD: I was spending a lot of time alone while I made the record, it became for the first time this super private process that no-one lived but me. Movies and books gave guidance and suggestions when I was lost in some processes, but it happened just randomly, I didn’t choose specifically those movies or those texts to work along with the record, it was just the information that was there, the information that appeared at that moment of my life. ‘Deserto Rosso’, ‘Hour Of The Wolf’, ‘Daydream’, ‘Fata Morgana’…‘Sans Soleil’, etc.
But, with ‘Deserto Rosso’ (not being my favorite movie in the world), I resonated deeply with it because of the way the soundtrack was made and because of the state the main character was in…but all the other movies contributed in one way or another.

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That sounds wonderful. I feel the mood and cinematic feel/narrative to those films is projected onto the canvas of ‘Syzygy’ so effortlessly. Again, it feels such a natural process, like the air one breathes. My favourite from Part A is ‘Vitti’. I guess this is a dedication to the actress Monica Vitti? It’s such an amazing ethereal pop creation.

LD: Thanks! ‘Vitti’ is because I imagined it was her character in ‘Deserto Rosso’, the one who made these lyrics.

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The defining moment (it may change with time of course) of the record for me is the closing section of ‘Murmur’ and ‘Mirage’ — the moment the guitar notes of ‘Murmur’ enter is very special. The lyrics of ‘Mirage’ are sheer poetry. Was this a song that formed the pathway for the rest of the album? It feels like a journey’s end or a wonderful climax.

LD: Not really, all songs were emerging more or less at the same time, I almost never work on one track at a time, but they do feed each other in the whole process.

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I would love for you to discuss please the live performance, Lucrecia? It must have been special to support Julia Holter on her recent European tour. How do your songs translate to the live setting?

LD: I play solo, with bass guitar, a little keyboard and processes for vocals and bass. I try to stay close to the mood of the recordings, but in a way I feel performing. I leave some space for improvisation in some songs, like ‘Mirage’, for instance, is longer towards the end, and I also made a set list that included 5 songs from ‘Syzygy’ and 3 songs from ‘Commotus’ with almost no gaps in between songs so it has more the feeling of a mixtape in a way.

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That’s very interesting. Both albums are related in many ways, and feel quite connected. Have you thoughts on what your next record may sound? I’m amazed by how prolific you are: ‘Commotus’ 2012 and ‘Sygyzy’ 2013…

LD: I have some thoughts, yeah, but you see, until I’m halfway through with the production. I have no idea what’s happening really, at first ‘Syzygy’ was supposed to be an album with cheesier ballads, or more moments like ‘Edgewise’ or the second part of ‘Vitti’ that feels more like the soundtrack of a 60’s erotica film, but this went on another direction. I do think that the next recordings will be less dense, because I already feel with these two records that I pushed myself back against a corner where I am spinning endlessly, I might have to find a way to escape this in order to continue…

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You’re now living in Berlin, Lucrecia. How is this city for living as an artist? It also must be special to be part of Human Ear Music, a label whose roster comprises of such gifted talents: you being one of the leading lights, for sure…

LD: It’s great, simple, this city has space to have the life that you want to have, if it’s quiet, it could be amazingly quiet, and vice versa. It’s just difficult not to be missing the mediterranean food, but I can compensate that with a great deal of nice people and good conversations.

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Last thing, Lucrecia, you kindly shared your memories and moments of 2013. Are there any particular aspirations or hopes you have for 2014?

LD: Yes, I also wish to go to Italy and hopefully to Brazil and Canada. And a bit more hours of sleep.

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‘Syzygy’ is available now on Human Ear Music.

http://www.lucreciadalt.com
http://www.humanearmusic.de

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Written by admin

February 13, 2014 at 10:35 am

Mixtape: Early Blue (A Fractured Air Mix)

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To listen on Mixcloud:

http://www.mixcloud.com/Fractured_Air/early-blue-a-fractured-air-mix/

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Tracklisting:

01. Ed Askew – ‘Drum Song’ (Tin Angel)
02. Áine O’Dwyer – ‘Albion Awake/Lifeboy’ (Second Language)
03. Harold Budd – ‘Wanderer’ (All Saints)
04. Calexico – ‘No Doze’ (Quarterstick)
05. This Is How We Fly – ‘Pelargonens Död’ (Playing With Music)
06. Glenn Jones – ‘My Garden State’ (Thrill Jockey)
07. Karen Dalton – ‘Katie Cruel’ (Light In The Attic)
08. Caoimhín Ó Raghallaigh – ‘Fead an Iolar’ (State Of Chassis)
09. Sarah Neufeld – ‘You Are The Field’ (Constellation)
10. Julia Kent – ‘Tourbillon’ (Leaf)
11. Colleen – ‘Geometría Del Universo’ (Second Language)
12. Moondog – ‘Symphonique #6 (Good For Goodie)’ (Columbia)
13. Julia Holter – ‘In The Green Wild’ (Domino)
14. Lucrecia Dalt – ‘Mahán’ (Human Ear Music)
15. Yo La Tengo – ‘Green Arrow’ (Matador)
16. F.J. McMahon – ‘Early Blue’ (Rev-Ola / Sacred Bones)
17. Richmond Fontaine – ‘Valediction’ (El Cortez)
18. Gram Parsons – ‘Love Hurts’ (Reprise)
19. Lambchop – ‘The Book I Haven’t Read’ (City Slang / Merge)
20. Ludovico Einaudi – ‘Fuori Dal Mondo’ (‘This Is England’ OST / Warp)
21. Lou Reed & John Cale – ‘Hello It’s Me’ (Sire / Warner Bros.)

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The copyright in these recordings is the property of the individual artists and/or their respective record labels. If you like the music, please support the artist by buying their records.

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Fractured Air. The universe is making music all the time.

http://www.mixcloud.com/Fractured_Air

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