Born in Pereira, Colombia, Lucrecia Dalt has since established herself as a prominent figure in the world of contemporary experimental music. Her professional journey—from civil engineer to sound artist—began while she was working at a geotechnical engineering firm in Medellín, where she discovered computer-assisted music production.

On RVNG Intl., Dalt released a trilogy—*Anticlines* (2018), *No era sólida* (2020), and *¡Ay!* (2022)—each of which expanded her sonic palette and conceptual depth. “¡Ay!” was particularly well-received by critics and listeners, earning the title of “Album of the Year” from The Wire magazine and landing in the top ten of the year-end charts for Pitchfork, The New York Times, and NPR’s year-end list. During this time, Dalt also began composing film scores for television productions. She also contributed the soundtrack for the HBO series “The Baby” (2022) and, more recently, for the critically acclaimed film “On Becoming a Guinea Fowl” (2024), embedding her distinctive sound design within narrative contexts.

Now Dalt returns with “A Danger to Ourselves,” her most personal and sonically ambitious work to date. While her earlier albums explore character-driven narratives and entanglements with the outside world, “A Danger to Ourselves” turns decisively inward. The album emerged from fragmentary notes that Dalt had jotted down during tours and in the early stages of a new relationship—intimate thoughts translated into musical compositions.

In close collaboration with percussionist Alex Lázaro, Dalt created pieces that derive their musicality more from the interplay of basslines, beats, and textural details than from conventional melodic structures. Songs like “divina” flow seamlessly between Spanish and English, interwoven with elastic soundscapes and hypnotic sound collages, while “hasta el final” takes a different approach with its more direct string arrangements. Throughout the album, Dalt moves beyond her earlier lo-fi approaches and strives for a new clarity in which both the vocals and the instrumentation come to the fore with greater presence and detail.

Moritz Fasbender uniquely blends her classical background at the piano with the field of electroacoustics—a realm still largely unexplored in piano music: The result is a radical collage of distinctive sounds that creates an interwoven musical landscape of extraordinary beauty. Her work on countless theater and radio productions, as well as her studies in electroacoustic composition, have had a significant influence on the sonic language of her current works. Moving between piano and synthesizer, between natural and constructed space, between reality and imagined cinematic imagery, Fasbender’s music transcends convention and breaks the rules of contemporary classical, neoclassical, and jazz.

“With Fasbender, we hear a woman setting new standards in the borderland between classical and electronic music, sleepwalking her way between analog sound and virtual space—most recently captured on her debut album *13 RABBITS*, released as a split release on Sony’s XXIM Records and Edition Dur/Dusssmann. She works with a very specific attention to reverberant spaces and ambient noise, using electronics like a master chef uses spices. A radical yet dark, nocturnal suite. A film score for lonely nights.” (Max Dax)

A collaboration between Jazzclub and UT Connewitz.