Given the real and mental circumstances surrounding the person and her work, it becomes inevitable and recurrent to make an imaginary bridge between Lucrecia Dalt’s musical cartography and her past as a geotechnical engineer, even if the truth ends up being much more metaphorical than the result of a direct influence. As if the tracing of the surrealist ambitions of the languid indie-pop from ‘Congost’ to the insularity of ‘Anticlines’ were marked by a telluric calling as a personal discovery. Mental maps projected into the loneliest confines of reality. A process of lamination of the first explorations around the hallucinatory song in her homeland – Colombia – to the harmonic spectrum born of what is truly essential that she has been purifying on European soil.
Reflecting a continuous discovery around the inner and outer universes, the music is raffled into a harmonic field of rarefied electronic sounds that by free association are connected to the always influential work of the BBC Radiophonic Workshop and the pioneering work of Delia Derbyshire and especially Daphne Oram – and developing the idea in a voice + electronics binomial has a mystical antecedent in ‘Flowers of Evil’ of the aforementioned Ruth White. Anticlines’, recently released by the attentive Rvng Intl. is the most precious moment of all this process. Always intriguing. Walking through the most inhospitable corners of this and other existences.