It’s hard to believe that Lucrecia Dalt’s career spans more than twenty years and that only about seven or eight years ago did part of the world begin to give her the attention she deserves. That attention has only grown since then. These things are a process, and perhaps without such a dedicated path to experimental electronica, it would have been difficult for the Colombian artist to find the clarity of mind to formulate such unique pop as she does in “A Danger To Ourselves” and which she already simulated in “¡Ay!”.
What makes this so special is that you can feel echoes of everything that is happening in the world in Lucrecia Dalt in 2025. There is Rosalía before Rosalía—it’s no crime to say so—as she asserts a sensitivity that softens the angular electronic music and makes her voice glide over a dark mantle. Dalt has always been tempted by a mystical side to sound, as if searching for something unattainable. For this very reason, at different moments in her career, what she did seemed distant from the present, as if she were living in a parallel reality, in another dimension.
In 2025, one could say that she feels closer. The Lucrecia Dalt of today, heard in “A Danger To Ourselves,” originates from a process, probably involuntary, of years of work searching for sound dynamics that culminate fantastically in songs. Deep down, it’s as if the secret was always there, but no one was looking for it. Neither her nor us. Like many artists before her, one of whom is David Sylvian—her partner and an active figure in the production of “A Danger To Ourselves”—Lucrecia Dalt had to seek deeper waters to evolve. It is in this vast sea that we will find her, somewhere between the impossibility of these songs ever existing and the possibility of them being right here and being pop, if we want to believe it. And we should believe it.
AS