Tone Glow 030.5: Lucrecia Dalt

An interview with Lucrecia Dalt for a special midweek issue

Lucrecia Dalt

Lucrecia Dalt is a Colombian artist based in Berlin who has been releasing electronic music, experimental music, and art pop for more than a decade. Her newest album, No era sólida, is out now on RVNG Intl. Joshua Minsoo Kim and Lucrecia Dalt talked on the phone via WhatsApp on August 5th, 2020 to discuss her family, her love for sewing, the influences behind her new album, and more.

Photo by Camille Blake

Joshua Minsoo Kim: Hello! How are you?

Lucrecia Dalt: Good, and you?

I’m good! It’s still early in the day and I love getting stuff done early in the day, and it’s always nice to talk to a great musician. 

How often do you talk to people? For interviews I mean, not to people in general (laughter). With musicians.

A lot, probably at least once a week.


I also like talking to people in general. Especially right now, with us quarantining. A few days ago I had five phone calls with friends. It was a total of eight hours of me talking with people in one day.

Yes, yes. I can absolutely relate to that.

Are you talking to a lot of people?

Yeah, I think more than usual. I think it has to do with the fact that we have more time to think and go to the past, and remember more situations with more care. It’s like, “Oh, what ever happened to this person?” But it’s not like I’m trying to get in touch with everybody at the same time; it’s a little bit more calm right now. Things in Germany—I’m in Denmark right now—it feels a little bit more normal now.

You’ve been reflecting a lot these past few months. Is there anything you feel like you’ve learned, either in general or about yourself, now that you've had this time of reflection?

I don’t know if learning is the word. I’ve been trying not to come to definite terms with anything, because of course everything feels like it’s floating in the air. Definitely the forced change has been great. I have time to do things more carefully. By that I mean things related to work, and things related to life—I have more time to do different activities, to listen, to read more, to listen to more podcasts, to discover! Especially, yes, that! To allow time to discover stuff.

I remember last year was a little crazy. I was just reacting to the things I had in front of me. Which was great, but it was also very intense. To be suddenly in this situation of… there’s lots of questioning... “Should I continue being a musician? Should I completely dedicate myself to something else?” You know, all these existential concerns that I guess everyone is having.

Of course. You were a geotechnical engineer before, would you ever go back into that?

No! (laughter). No, definitely not. I mean, never say never of course. You never know how things will make you shift and make you use whatever knowledge you had in the past. But if I get to choose a change it would be, it would be more related to doing something extremely simple. Like doing pottery, or sewing clothes—which I do already, but maybe do it more—I don’t know, I’m not sure.

It’s awesome that you sew clothes! Do you just do that for your friends and yourself when you have time?

Mostly for me. I’ve been sewing since I was a kid because it’s a tradition in my family. I make almost all my clothing for performing. I buy very, very few items, only if they are too difficult to make. I like to do it and I like the headspace that it brings to my life. You have to be present, present, present, present, present, present, present. You know? You have to be super focused, you cannot undo anything. It’s so dedicated to your connection with the material. I love that.

Is there a specific type of material that you like to work with in your sewing, or a fabric that you like handling or that you like wearing? 

It comes down to many things—and sometimes I have to say that I choose materials more pragmatically. Especially when I’m thinking about touring, I choose something that is not going to be like… if I don’t have an iron in hand it won’t look terrible or something like this. I end up choosing things based on what would be practical (laughter).

I want to talk about your family! So there’s this tradition of sewing, is that something that you learned from your mom?

Yeah, it’s a tradition that comes from my grandmother’s sister. Because of an issue she had with her legs, she had to sew in order to sustain her family, so she slowly developed that technique, she made these incredible drawings, and she even wrote a book that was published.

She was giving classes to people, she gave classes to her daughters. One of her daughters gave classes to me when I was a teenager. Before that I was sewing with my grandmother, stuff for her, stuff for my dolls. I’ve been in front of a sewing machine for as long as I can remember.

Would you say you are close with your family?

Oh, yes, definitely. We are separated right now, I live in Germany, my parents live in Colombia, my sister lives in Seattle. We are everywhere, but yeah we are very close. The time that I was there, yeah, I believe that they were a big influence on me. Especially in how everything was solved in the house. Not only my mother’s side, but my father’s also—he does everything. He helped me build pedals back in the day. I’ve always done stuff, crafting everything you can imagine (laughter). That’s something that has always been there, and I think that reflects in the way that I make music, or work and shape my studio, or build things around my house and stuff like that.

It’s sad to hear that you’re far away from so many people that you care about. Something I like to do when I’m not around the people that I love, in addition to talking with them, I just like to remind myself of times I’ve spent with them or things that I appreciate about them. Do you mind sharing with me something that you love or a time that you remember that you cherish with your sister and your family? When you were young or even recently?

(laughs). It’s funny to hear you say that because recently we had a super big Zoom party to celebrate my father’s birthday. The idea was that each of us would bring a memory that they had with my dad—especially something kind of funny. During the conversation I was telling various stories that were funny, but after the party was over I was like, “Wow,” and I started to think about something else that is totally true—I realized from talking to a friend afterwards that I really love just hanging out with my dad and walking together in the city.

He has a way of seeing the city in a totally different way from how I’ll see it, he’ll notice things that I’ll never notice. I really, really love and miss that. That quality time, just very simply walking and observing stuff. It was just like… wow, it’s so cool that you can just see this object here, and wonder what it means.

With my mother, of course there’s sewing and listening to music. She has always been obsessed—there has been music in my house since I was a kid, and she has been collecting records since forever. There was a guy coming to the house to sell records to her every now and then (laughs). No wonder I’m interested in multichannel work these days, I feel my mom is a natural acoustitian, she was hiding speakers around the house, trying to create the ultimate listening experience.

What sort of music was your mother listening to? Does any of that resonate with you today? Do you still listen to the music your mother listened to?

Totally. Even more now than before. Especially of these more folk, traditional musics, and spanish music that she was listening to. I feel like now is actually the time that I’ve come to appreciate having all this information. Knowing about salsa, and cumbia—and how that affects the way I think about rhythm in my music. I think I’m always trying to grasp some kind of essence of those melodies and rhythms and try to bring it to my music—it’s there in a very abstract way, but I totally feel there is a very heavy influence.

Are there any artists you can name that you remember your mother loving back then?

She loved… let’s see, like perhaps one of her most favorite was María Dolores Pradera. There was this Spanish ballads group, kind of like the ABBA of Spain called Mocedades, she listened to that a lot. A lot of music from Mexico, boleros from all over Latin America, merengue, salsa, tangos, lot’s of tangos. 

Thanks for sharing that!

(laughs). No problem.

Photo by Camille Blake

Is your sister older or younger than you?

She’s older. It’s been a full ride with her. She’s amazing. I don’t know, again I guess in general it’s like… to have the capacity to be surprised by the people you love and the people you believe you know so much, but every day there is something that’s like, “Wow, that’s so cool. It’s so amazing that you see the world this way. That you think, and are growing and becoming this way.”

I have a very good relationship with her, since forever. We’ve been very close, we talk a lot. I love staying in touch with her and sharing what we do. She was initially an architect and she became an illustrator. She works with infographics. Actually, yesterday—we are doing a project together that involved her taking all this data from my performances last year. And she just sent me an animated video with all that info. It’s very nice. It was also insane to see that because it’s like, wow! to see a map of all these places that I went to, and to think about all the people that I saw. It’s just so crazy.

What’s your sister’s name?


Catalina, ah.

Sí (laughter).

How much older is she than you?

Five years.

I love that you two are close. That’s so nice.

Yeah, that’s so, so, so valuable to me. That’s so important. Especially now. The sense of family is like, so appreciated during these times. And you’re trying to make a sense of family with whoever is closest to you as well, like with your friends. That’s very important.

I’m happy that you’re experiencing this right now. It’s a nice thing to have.

Yes, definitely. Definitely. I’m very happy. I discovered—do you know The Midnight Gospel? Have you seen it?

No, what is that?

It’s a fantastic TV show on Netflix, it’s an animation. Have you heard of Duncan Trussell?

Oh yeah, I’m looking at images right now and I know what you’re talking about! I’ve seen video clips.

Yeah! I’ve become quite obsessed. This is one of the activities that I’ve been doing since lockdown, I listen to that podcast. It’s interesting because he does talk a lot about love, mindfulness and it’s definitely something that, not only because of the podcast, but because everything that is happening, it’s a recurrent question: how do I make my life more liveable? How do I make it calmer?

It’s good to be with someone that resonates with the idea of being in a calm space. Because in a situation like this you can also be in a state of despair, and be driven by the negative aspect of it. Of course it comes down to your context, but even if you have a very privileged context, you can still be letting yourself get drawn to a very obscure place which I think it is important not to do right now.

I’m really happy that you have all this, that you feel calm right now. That’s super important, and you have someone you can feel calm with. Now I want to ask you, what do you love about yourself? What do you think that you can offer and provide to people?

(laughs). I…

No need to be modest either!

I’ve been definitely very, very constantly working on… very actively to the people that are close to me—or even just with the people I interact with—gosh, it sounds like it’s from a manual! But it’s so effective, when you really try to provide, in the best way you can, a good time. I don’t know if that is the best way to say it.

I feel… I feel… (laughter). My god, it’s so difficult, sorry!

You say you provide a good time. What does it mean to provide a good time and why do you think you can do that?

(laughs). Why [do I think I can do that]… 

I guess, who is Lucrecia? Who are you? What would draw me to you as a person? I am drawn to you right now as a person, we’re having a conversation that I appreciate.

Well, I like to engage and I like to pay attention to people, to whatever they need to say. Even to the point that I’m not talking, I tend to listen a lot. Perhaps this is my biggest quality and perhaps my friends can agree with that. Also it has this dysfunctionality because I do feel like I’m very shy with groups of people three plus. I feel that I’m in my best zone of expression when I’m with just one, three max. With an audience it’s a totally different story because it’s more like an impersonation and stuff like that. But to be myself, I think to listen is one of the qualities I can do to exercise as much empathy as I can.

That’s really good! I think that’s such an under—

(laughs). I think, but I’m working very, very cautiously about that, and I didn’t even let you speak, sorry! (laughs).

No, that’s okay! This is your interview. I think that is a really important quality that people don’t appreciate enough, and it’s so important for any relationship.


I’m happy for your friends, that they have you.

(laughs). I will tell them (laughter). Ay yai yai.

Photo by Camille Blake

You say that when you perform live that you are giving an impersonation, what do you mean by that?

I don’t know what it is, I totally kind of surrender to the experience. I definitely feel something quite cathartic every time I perform. I sometimes feel something similar when I’m making music, in that very precise moment when you realize that you’re making something that makes sense, that feels thrilling, that you’re engaging with it emotionally in this more intense way.

But performing, it’s this continuity, it doesn’t stop. It’s like being in the present and trying to make sense of all this, and reacting to the space, and becoming this entity that is super aware of the what’s happening in this very limited spatiotemporality, and the architecture of the space, the position of the people, the lights and all that. I’m trying to react as a being to all that.

There is this theatrical aspect of it, because of the lyrics of Anticlines, for example, I tend to perform in character. It’s something that happens when I’m performing that definitely isn’t happening when I’m talking and listening to people. 

Your new album No era sólida, the press release kept mentioning this character, Lia. How did you come up with the name, and who is Lia? Talk to me about Lia!

So, basically it’s a mixture of three things that, when I put them together, I thought, “Okay I think this is another entity. It has to be another entity.” At the time I was reading a book by Clarice Lispector, a Brazilian writer. The book is called A Breath of Life, and in the book the main character is creating this entity, and how that entity starts to gain—almost as if it was an A.I., but it wasn’t an A.I.—it’s kind of like this entity that you are training, and it’s gaining some kind of consciousness and creative delivery and stuff like that. 

Then I was reading another book by Gloria Anzaldúa, and there is one poem specifically called Interface in which she is having a sexual encounter with an abstract entity. She’s describing all the feelings that she’s having while this other entity—in this case it’s a female entity—is doing these things to her and how she’s feeling it in her body, and the problem that they have to encounter in the middle, between the human and entity’s existence. That was another element that was around when I was making the album.

At the time I was also thinking obsessively about how I could make vocals that had another character, that were influenced by other ways of making music. At the time I would listen to, for example, flamenco music or music from Mali, because they would have all these very specific ways of melismas and all these ways of modulating the voice that is so fantastic. What I did, and of course I’m not a good singer—at least not to that level of power and delivery of these musicians—but I thought, “Okay, what if I just listen to that over and over?” For example, for a whole afternoon I listened to that only, and I tried to force myself into a character that was able to copy that feeling into my own songs.

I thought it was a very good exercise because I felt like I really achieved something that I hadn’t done, and it was really free. It wasn’t questioning language, for example. It wasn’t like, “Oh no, for a song to be a song I really need to add words to it otherwise it’s not going to work.” I was just thinking about my throat and isolating it, emotionally reacting to whatever it was I was doing. So I would build some kind of base and then I would sing while having these ideas about the books and the music I was listening to, and from that, just perform. So I thought, “Okay, maybe this is another autonomous entity. If it’s another entity why not give her a name.”

I thought of many names, but I chose Lia. In Spanish, Lia—not that name specifically, but it could be one of the meanings—the verb… (under her breath) How can I say this… the verb, liar, is like to… what is the word, I need to look it up. Let me see… ay


Liar, well that is one definition, which is like, you can roll a cigarette—liar un cigarrillo—but the one I was thinking was the other one which is… ay, Spanish, English… (laughter). Befuddle? I don’t know. What is befuddle?


Befuddle, I’ve never heard this word.

That’s like when someone is confused or something is unclear.

Unclearly. Yes, exactly. This is the meaning that I was thinking about. So yeah, Lia is a character that makes you feel… confused (laughter). That’s why I chose that name, basically.

Photo by Camille Blake

That’s an interesting reasoning for the name. Are you not aiming at all for clarity with your compositions then? Are there specific reasons or goals that you have in mind for the specific songs that you do?

No. Clarity is definitely not a goal in my music, if I had a goal. Precisely what I wanted from this album was for it to be as free as possible. I didn’t want to put any indication in the sense of delivery, you know like, okay, this makes sense. Most of the takes are first takes, and this is why I didn’t develop any language, except for the last piece, which has another story. But the ones before that, it’s like a commingling—I don’t know what it is—or a very, very instant emotional reaction to what I was making.

How do you feel like you’ve grown as an artist since the last album?

(laughs). I don’t know. Hmm… ay

I just want to say I love how you say “ay”, and I love how much you laugh. It’s great. It’s fun!

(laughs). Thank you, thank you.

No, it’s just because I just think about these terms, but I don’t want to say, “Oh, I don’t feel like I’m related to this word growth.” Like maybe the word is relax, you know? (laughs).

You can say whatever you want, you don’t have to worry about what other people think you should say, you can say whatever you want to say!

In the end I do understand that after every experience there is a summing up to something. Is it growth? Maybe (laughter). I think they’re all very separate experiences. One definitely relates to the other, influences the next, and I’m getting better at working with these machines to the point where it becomes a sort of endosymbiosis or something like that. I’m integrated into the brain of the machine in a way that hasn’t happened before. When I was making Anticlines it was the first time I was using those specific synthesizers. Now I’m kind of thinking along with the synth, and using that in the composition. So maybe in the sense of growing with machines (laughs) I definitely can see how I became better at it, just by doing it.

Lucrecia Dalt in her studio

What synths are you using?

I use two Clavia. It’s a Nord Modular synthesizer from the ’90s that you can connect to a computer and basically program everything inside. It works internally as a modular synthesizer, and the sound of it is very great and I’ve become quite obsessed with programming vocoders in them…

Let’s talk about the final track, “No era sólida,” that’s when you end up talking.


The press release did say that one of the lines that are spoken, it says, “Can paralysis transform a person into a thing?” Are there other words that you speak there that you want to share?

So that piece came from a project that I presented in Barcelona in the Mies van der Rohe Pavilion, and there was a sculpture there in the back—I don’t know if you are familiar with the building, but the building has this tension between what’s inside, what’s outside. I wanted to work with that. I was called to do a performance, a multichannel installation. I basically put speakers all over the building, underneath the tiles of the floor, in the ceiling. I was playing with all these elements. And I wrote the lyrics of what became the piece “No era sólida”for that sculpture.

At the time I read this short story by J.G. Ballard called Venus Smiles. I don’t know if you know it but it’s a fantastic story in which, somewhere in Ohio, near Cleveland I guess (laughs) there is an open call for a sound sculpture. The person that ends up winning is this woman who has been living in town for a short period. Before the opening, nobody had seen the sculpture, and on the day of the opening the whole town goes to see it and they realize that the sculpture is horrible and that the material of the sculpture is kind of like within the material… gathering all the pieces of classical music, it’s an abstraction of all those things.

The sculptures start to multiply, gain size, and they start to chop it, and every piece that they cut keeps having this resonance. So they decided to throw this material into a scrap yard. They’re starting to get desperate, this thing is horrendous. So they bring it to that place and melt it down into material for construction, and it becomes part of the mayor’s house, and that house starts resonating with those frequencies. So I was thinking of that story when I was working with this sculpture.

I started to investigate marble, and I started to write this story from the material’s point of view, that pre-exists the human, “I’ve seen it all, I’ve seen your history, how a molecule said, ‘yes’, to another one at the edge of your skin.” It’s like the material is asking all of these questions to the human that is observing her while it’s shaped in human form. So yeah, that’s the story behind the lyrics (laughs).

So the line, “Can paralysis transform a person into a thing?” What is your answer to that?

(laughter). There is no answer! There isn’t! That sentence specifically comes from a book by Clarice Lispector. In her book I think she says no it can’t!

Anyway, I thought of that as well, like in contrast with the entity that I was creating and especially with the sculpture itself. Like, a sculpture in the shape of a human asking a human, “Can paralysis transform a person into a thing?” I thought it was an interesting point to make. But yeah, no, definitely no answer. No answer at all (laughs). 

I’m so interested in the fact that so many of these songs and so many of the influences that you’ve talked about are things that are not music. Would you say that you are typically interested in things other than music when you make your work?

Yeah, totally. Definitely. I think everything that is happening at the moment I’m making it influences me. I think I’m starting to love site-specific projects because you really work in context and I really, really love to do research. I love to get surprised by the amount of information you can find, by the things you start to discover. Like, “Okay, how do you connect a sculpture with a short story by J.G. Ballard, and how do these things make sense in my world?” It’s not only about music, for sure. The music is a vehicle of course, and this is where I feel very comfortable. I love working with sound, I’m really obsessed with it. But yeah, I want to work with sound that has a story behind it.

Is there a specific installation that you did that was super valuable for you in terms of the research that you did, and what you learned and came up with?

That one in Barcelona was really great for that. I was working there for a week, and then I did the performance four times in a row, I started to become entangled with the space. I loved that. It’s so wonderful.

I did one last year in the Botanical Garden in Berlin. That was in collaboration with Maria Thereza Alves, a visual artist from Brazil. That one as well, especially through her view of the project. I also did a project with my friend Regina de Miguel, a Spanish visual artist. We’ve done music for installations and films, we’ve done podcasts together. I guess part of what intensified this need for context and research was because of her. Not that I hadn’t done it before, but I guess it has to do with the fact that I’m an engineer and that I like stories and that I like learning about stuff. But with her, I started to see research as a very liberating tool. 

When you start to bring all these concepts together and try to make sense of all this information, and how that completes whatever format you are using, the feeling is wonderful. I really like working this way. Not that I won’t work anymore just like sitting down and working with sound for the pleasure of it. But I guess when I’m thinking about it, especially a project that has an end—like an album—I do love bringing all these things together. It feels nice.

Photo by Camille Blake

For your album, is there a song that you would consider your favorite?

It’s funny you ask, because you see, before the whole COVID thing happened I had a totally different relationship with the album. When the time came to announce it, I was actually very terrified. When we were saying, “Okay, it’s going to be today!” I was like, ahh! (laughter). I was freaking out, believe it or not. I feel like the album, especially the last track, is very intense. 

I don’t know, I felt like, “Am I contributing to the intensity of this world? Is that fair?” I was really conflicted, I was asking my friends, and musician friends, “What do I do? Should I put this out?” That was the plan, but now it’s a totally different world. The conclusion always being that I shouldn’t be so literal, and that what people feel is what people feel. Finally, we put out the first single “Disuelta.” And to see that people had good reactions and positive comments was like, “Whew, okay, good, I can do this.”

I only have one more question for you, I know you have to get going soon. What do you want to make sure you do in the near future? This can be something related to music, this can be something personal or in general. Is there something that you want to make sure you do in the next couple of years or so, for yourself?

Ay yai yai! (laughter). I’m trying to figure that out. Definitely. I don’t think I have found the answer yet. I feel like creating, definitely creating. Making something related to art is just fundamental to me, in whatever form. 

(long pause) Yes! Okay, now that I think of it, there is something. Because of all the things that are happening—and my albums, too—I finally got to a point where I needed to finally say, “Okay, I’m going to do this!” I’ve started to have a greater interest in voice. I’m going to start to take classes, and start to practice more and stuff like that. But I want to create work in new ways with voice, especially while engaging with the community.

I’m actually working on a couple of proposals for voice right now. My idea is that by the end of the year I’ll do a workshop with various friends who are interested in doing stuff with voice and see where that goes. I have no idea what the outcome of that will be, if it’s going to be a recording, a choir. I see it as the start of an exploration that could have many, many outcomes. It could be releases, installations, workshops—it could be many things.

During this pandemic I’ve loved singing and sewing (laughs). Doing things with my hands and just singing were the most satisfying and calmest moments. When I had to sit at my computer to work, I was feeling very disconnected from it. But singing and doing something with my hands felt really good. I need to bring more of that into my life.

Are you usually singing and sewing at the same exact time? Does that ever happen?

Maybe, yeah! (laughter). I’m not conscious of that, but it’s possible. Many times when I’m sewing I am listening to podcasts, so I don’t know if I can be singing, listening to podcasts, and sewing at the same time (laughter).

A video that Lucrecia Dalt sent me titled “being silly”

Is there a reason that you feel like the voice is so important in a collaborative setting?

Yeah, I feel like you don’t need anything at all, you just need to be present, and I kind of love that. Quite the opposite of the way I work—I make it so complicated, I have so many cables and so much stuff. All this stuff! Finally, I’m going to just be there with my body (laughter).

That doesn’t mean that I’m not going to do processed voices or something like that. But the main idea is to use the voice as an instrument and to explore it in new ways. But new ways collectively, too, because I was thinking “Okay, I have an idea of things I can do with my voice, but if I present that to a friend she’s going to react to that, and she’s going to share with me what she can do, and together, how can we create a third voice?” I am looking forward to that for sure.

Is there anything that you were dying to say or that you wanted to talk about?

(laughs). No, not at all. It’s been totally fine. I think I talked a lot (laughs). 

It’s not the longest interview I’ve had so don’t worry, and this was wonderful!

Yeah! But, tell me a little bit about yourself, there’s been a lot of delivery on this side!

A little bit about me?

Yes please! (laughs).

So, I’m a high school science teacher. I do a lot of music writing just for fun on the side. I’ve written for Pitchfork and The Wire and Bandcamp Daily. I mostly write about experimental music, but I’m really interested in pop music from throughout the world, and throughout history. Those are, I guess, my two big things that I regularly research in terms of music. I also have my newsletter, Tone Glow, which this interview is for, and that’s something that I just sort of started because I wanted a publication that would align with the visions that I have for a music publication. Part of that is, the interviews that I have are always kind of long, like this, and they’re always presented in Q&A style. Obviously, as you noticed, I like to ask questions about your personal life, and your family. I always think that’s very important. I also come from a really close family. I’m a twin brother actually.

Oh wow!

Fraternal, though, so we don’t look alike. We’re really close. I have a sister, she’s eight years older than me. We are really, really close, she’s a hybrid sister/mom figure in my life. My extended family is pretty close too. There’s actually like three different immediate families close by, we’re all within 15 minutes of each other. For my entire life, we’ve come together every Saturday to have dinner and talk and whatnot. Well, it was like that until recently, with COVID. From that I think I’ve just learned the importance of a real community. With my newsletter, part of that is trying to get artists to seem like real people instead of just artists who just care about art.

That’s so great, and I actually feel very connected to that right now. It’s funny you say that because in the past, I could have totally said no to any interview like this. Maybe I could have been having high expectations for myself and the kinds of answers I was supposed to give and stuff like that, and I’d be like, “Oh, no, that’s terrible!”

To connect in this way is great. And I appreciate that you are generous and open because sometimes it’s very crazy to find in this world certain people who are just trying to get information from you and then five minutes later are like, “Okay, bye! That was enough!” And I’m like, “What do you mean enough! We didn’t engage in anything…”

I didn’t understand something, when you said that you write, that you are also interested in experimental music and what about the world?

Oh, pop music. I keep up with a lot of pop music, like contemporary pop music but also like traditional music from countries around the world. That’s what I care about a lot. I’m always interested in researching different cultures and seeing how that is expressed in their music.

Have you read this book—I’m reading this book called Lament from Epirus by Christopher C. King.

I have not read that! What’s it about?

It’s about folk music from Greece.

Oh, like rembetika?

I just started reading it, but it’s really really fantastic. I thought you might like it.

It looks good, I’m definitely going to look into it. I also love how much you read, it’s great! Lucrecia, it was amazing talking with you, you’re an incredible person!

You too, thank you!

If you’re ever in Chicago I’d love to meet up, to see you perform, whatever. I hope you have a great rest of your week, and I hope you and your family continue to stay close. I love that you had that Zoom party for your dad. That’s so sweet.

Yes, totally. And thank you!

Purchase No era sólida at Bandcamp and the RVNG Intl. website.

Lucrecia Dalt’s parents

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