When viewing Lucrecia Dalt's music videos and the cover for her new album ‘A Danger to Ourselves’, it is evident that she holds a deep admiration for film—particularly mystical works like Mulholland Drive, which is among her favorites. Talking about her lead single ‘Cosa Rara’, featuring David Sylvian, Dalt expresses: “I feel the energy of a movie like David Lynch’s Wild at Heart with Nicolas Cage in this song — like a couple driving, with everything coming at them in quick images, and so forth.”
It is tempting to characterize Dalt’s latest release as a completely cinematic venture—featuring unsettling lyrics like “The beat / Of your neck on my mouth” in ‘Hasta el Final’, emotional cover art reminiscent of posters for iconic horror films such as Suspiria, Carrie, or The Shining, and an album title that seems tailor-made for a new Yorgos Lanthimos or Julia Ducournau production. However, this time, she has infused more of her personal experiences with love into the music than ever before.
Moreover, it is enticing to interpret ‘A Danger to Ourselves’ as a novel approach to pop music. In a time when once avant-garde provocateurs like Charli XCX, Caroline Polachek, or Rosalía have solidified their status within mainstream pop, while other genre pioneers cling to familiar conventions, it is refreshing to encounter something genuinely strange, visceral, and audacious. Dalt’s diverse and evocative sound, deeply rooted in her Latin heritage, defies easy classification and accomplishes just that.
“I want to create rhythms that are intricate, that don’t remind me of anything I’ve heard before, that don’t belong to any specific genre, that are rich,” Dalt shares passionately. It can be argued that with this approach, she is essentially reinterpreting reggaeton, giving it a poignant, experimental twist, akin to filtering Rosalía or Bad Bunny through a surrealist, philosophical lens.
Indeed, there are many avenues to explore, and during our Zoom conversation, Lucrecia Dalt and I sought to resist them together.
—
—
Your new album, ‘A Danger to Ourselves’, seems to be your most vibrant and pop-oriented work to date. Was this shift a conscious decision or a natural evolution?
I believe it’s both; however, it was quite intentional in the sense of thinking, “Okay, I’m going to experiment with my voice, considering its psychological, emotional, and physical limitations.” I aimed to challenge myself: to sing louder, clearer, and more directly, with lyrics that delve into sensuality, eroticism, romance, and similar themes more boldly and less shyly, while still retaining a poetic essence. This framework is where I feel most at ease with my writing.
Do you listen to mainstream pop? Who is your favorite pop artist?
Regarding contemporary artists, I hold great admiration for Rosalía; she is one of the few artists today who maintains that boldness. Additionally, I’ve always appreciated Pharrell Williams' production—there's a quirkiness in everything he touches that I find immensely appealing. Kendrick Lamar, with ‘Mr. Morale & the Big Steppers’, established a fascinating foundation for pop music by making an artistic statement both musically and theatrically during his live presentations.
There are artists from previous eras, such as Celia Cruz, La Lupe, Gal Costa, Caetano Veloso, Charly García, Haruomi Hosono, and even Daft Punk, whose work aligns more with my ideal pop music. In mainstream culture, there are only a few examples that continue to excite me.
You co-produced the album alongside David Sylvian. How did you meet and decide to collaborate, and what did he contribute to the music?
I reached out to him after finishing ‘¡Ay!’ to express my admiration for his work, explaining how influential his sound, particularly with the Prophet-6 synthesizer, was on some of my decisions for the album.
We connected in that context while sharing ideas and thoughts, and his input became crucial to ‘A Danger to Ourselves’. He guided me in the initial phases of the pieces—serving as a mentor—and once the album was finalized, he mixed it and co-produced in a creative manner, thinking outside the box, such as processing a guitar in unexpected ways or suggesting different elements.
I saw your Instagram post about your first encounter on the escalator, where you noticed him in a specific order: hand, hat, face, eyes. That’s amusing.
Haha (laughs). Yes, that’s accurate! I tend to observe people from a distance, and with many who’ve become important to me, those moments play in my mind like slow-motion scenes. Alex Lázaro was similar; I noticed him descending the stairs in a stunning place in Portugal and thought, “Who is this person?”
The London-based trio Ebbb has unveiled their latest single ‘Eyes’ through Ninja Tune, accompanied by a captivating video directed by the band's very own Lev Ceylan. ‘Eyes’,
To an Irish outsider, the island's traditions might appear to have remained unchanged for a long time; however, in recent years, there has been an exhilarating new surge of progressive ideas.
London-based artist, DJ, and curator System Olympia has revealed a new compilation titled 'Love Language,’ set to be released on October 17th through Material Music. Promoted as a
The French liqueur Chartreuse is a herbal drink with a yellowish-green hue, produced by Carthusian monks since the 18th century. Although
Elmiene's latest project, ‘Heat The Streets’, serves as a tribute to the icons of R&B. The 12-track mixtape showcases the British-Sudanese artist's genuine talent.
"The most impactful songs and art are those that take risks," Jack Garratt shares with Atwood Magazine. In his remarkably audacious third album 'Pillars,' he lays everything on the line, turning red flags, deep wounds, and hard-earned insights into an honest portrayal of love, identity, and resilience. In our deep and expansive discussion, Garratt reveals his thoughts on ego death, the three pillars of love that influenced his album, and the unwavering motivation that led him to create his most fearless and vulnerable music to date.
Observing Lucrecia Dalt's music videos and the artwork for her latest album 'A Danger to Ourselves', it's very evident that she holds a deep admiration for film —