Born in Pereira, Colombia, Lucrecia Dalt has carved out a distinctive space in contemporary music. Her trajectory from civil engineer to sound artist began while working at a geotechnical company in Medellín, where she discovered computer-based music production—a revelation that completely redirected her life and creative focus.
After her first recordings appeared through Colombian collective Series, Dalt contributed to Monika Enterprise’s 4 Women No Cry compilation in 2008, marking her entrance into the international music scene. Following moves from Medellín to Barcelona and finally to Berlin, her sound evolved through increasingly abstract territories. Her early solo albums Commotus (2012) and Syzygy (2013) released on Human Ear Music explored surrealist tendencies through electronic foundations, while Ou (2015) on Care of Editions further refined her experimental approach through intricate sound worlds.
With RVNG Intl., Dalt released a trilogy of works—Anticlines (2018), No era sólida (2020), and ¡Ay! (2022)—each expanding her sonic palette and conceptual depth. ¡Ay! particularly connected with critics and listeners, earning recognition from The Wire magazine as album of the year and top ten inclusions in Pitchfork, New York Times, and NPR’’s year’s best. During this period, Dalt also ventured into television film scoring, composing the original score for the HBO series The Baby (2022), and more recently the critically acclaimed On Becoming a Guinea Fowl (2024) and forthcoming psychological horror The Rabbit Hole (2025), bringing her distinctive sound design to narrative contexts.
Now Dalt returns with A Danger to Ourselves, her most personal and sonically ambitious work to date. While her past albums explored character-based narratives and outer world entanglements, this thirteen-track collection turns decisively inward. The album grew from fragmentary notes Dalt scribbled during tours and the early days of a new relationship—intimate thoughts later transformed into musical compositions in January 2024.
Working closely with percussionist Alex Lázaro, Dalt built pieces that generate musicality through the interplay of bass lines, beats, and textural details rather than conventional melodic structures. Songs like “divina” move fluidly between Spanish and English through elastic soundscapes and mesmerizing sound collage, while “hasta el final” takes a different approach with its more direct string arrangements. Throughout the album, Dalt pushes beyond her earlier lo-fi approaches toward a newfound clarity where both voice and instrument emerge with greater presence and detail.
A Danger to Ourselves features a rich collaborative cast, with David Sylvian joining as co-producer and guitarist on select tracks. Vocal contributions from Juana Molina, Camille Mandoki, and Eliana Joy appear throughout, while the instrumental landscape is shaped by Cyrus Campbell on upright and electric bass and Chris Jonas on saxophone.
The album title comes from Sylvian’s lyrics in “cosa rara,” reflecting themes of life’s fragility, love’s oscillations, and the desire for liberation from everyday patterns toward more meaningful inner experiences. Mastered by Heba Kadry in NYC, A Danger to Ourselves represents both a culmination of Dalt’s previous work and a new direction—a space where her sonic explorations converge into something intimate yet expansive, personal yet universally resonant.
Dana Wachs is a Brooklyn based composer and audio engineer, that performs under the name Vorhees.
Dana studied cello and electric bass from an early age. At nineteen, she joined the DC hardcore group Holy Rollers (Dischord Records) and dove deep into a world of touring and live sound. Audio engineering would define the following twenty years of her life while working at Greene Street Recording NYC, and then touring the world with Jon Hopkins, St. Vincent, Lykke Li, Fever Ray, and MGMT among many others.
The past has seen her composing for commissioned performances and recordings for fashion designer Rachel Comey alongside the artist Joan Jonas, as well as dance performances by Guggenheim Prize winning choreographer Morgan Thurson, and Bessie Award winning choreographer Heather Kravas, as well as collaborating with Matthew Barney and Brandon Stoney for a series of performance art events titled “Rural Violence” (playing handbells and electronics on Matthew Barney’s boat on the East River and performing bells on horseback in Jackson Wyoming, in a requiem for Matthew Shepard). She’s also moved into film composition, scoring the films “Sugar” by Kimi Howl Lee (debuting at Cannes), “Confession” by director Dayna Hanson (HBO’s “Room 104”), and BAFTA nominated/BFI Audience Award winning documentary “Blue Bag Life (Tigerlilly Productions).
Live solo performances included invitations to perform at Basilica Soundscape 2013 and Iceland Airwaves 2014, and concerts supporting Loren Mazzacane Connors, Anna Meredith, Matmos, and Josef Van Wissem, as well as tours including supporting Beth Orton in Australia, Cat Power in America, and Deerhunter in the U.K. and Europe. Other performances include commissions from the Kitchen for a Julius Eastman retrospective, and from the Hirschhorn Museum in Washington DC (alongside Kim Gordon, Moor Mother, Lizzie Bougatsos (Gang Gang Dance) and Brendan Canty (Fugazi, The Messthetics) for a Yoko Ono retrospective.
Vorhees is currently working on a new feature film score and new EP release.