Lucrecia Dalt first discovered the craft of music after a brief career as a civil engineer in Medellín, Colombia. Since that time, she has ventured equally far into popular genres and experimental techniques, collaborating with Medellín’s Series Media Collective, Berlin’s F.S.Blumm and Gudrun Gut, Los Angeles’ Julia Holter, and , most recently, international collective, Human Ear Music. She has always balanced the sharp mind of a methodical thinker with the restless heart of a passionate artist, gradually seeking a way to create hand -crafted mental states through sound. Her long commitment to this pursuit has resulted, not to an overt confrontation of style versus intellect, but, rather, to a beguiling and subtle way of making accessible music that, nonetheless, feels like an invitation to risk, and a sensual approach to complexity.
What is the biggest inspiration for your music?
How and when did you get into making music?
When my grand pa showed me how to play maracas. I was 4 years old.
What are your 5 favourite albums of all time?
Ween – pure guava, Alice Coltrane – Turinya sings, Joni Mitchell – Hejira, Woo – It’s cozy inside, Miles Davis – ascenseur pour l’échafaud.
What do you associate with Berlin?
The bicycle appeared in my berliner life a long month after I moved here. Forty-five minutes long walks were the stand ard, sometimes three times a day. The bicycle changed the rhythm, trees now move faster and the city seems less texturised.
What’s your favourite place in your town?
If there was no music in the world, what would you do instead?
What was the last record you bought?
Felix Kubin – James Pants 7″. Nowadays I rarely buy records. I like buying plants. If I move to Lisbon they can continue living in Berlin. The records will have to go to Lisbon and one box of 50kg cost around 100€ from Berlin to Lisbon. I need to reduce.
Who would you most like to collaborate with?
What was your best gig (as performer or spectator)?
Performing is so strange, complex. I find a bit obtuse this new thing of programming shows in churches, but strangely the performance I did that I enjoyed the most was in a church last year. Mostly because there was installed a well thought system of lightning and fog machines for the show. Churches should be using smoke machines nowadays, specially now that cand les are electric. That church doubled size. Worshipping. I think I was once in a Swans concert that I liked. Ian Svenonius is the perfect performer, no one can sing and move the legs as he does. I feel better performing when my legs move more spontaneously.
How important is technology to your creative process?
Technology gives me something to do, or everything to do.
Do you have siblings and are they proud or jealous of you?
I’m jealous of my sister, she has better semantic memory.
Catalina Pérez López | enseguida.net
| Interview with Lucrecia Dalt by Digital in Berlin