A Danger To Ourselves

On A Danger to Ourselves she turns the camera on herself and the lens becomes a mirror, revealing an artist even less inhibited than before.

But whoever’s on board, the sound remains largely cohesive, the agile slither of bass, the slap and clatter of found percussion and the lilt of Latin melody, sung sweetly but with menace. It’s a potent brew, still challenging, but coalescing around songs.

It feels almost too intimate for the world to hear.

Lucrecia Dalt might not think about hit-making, but through her exploration of love and transcendence, she eventually created something strange and eerie, yet surprisingly close to a pop album — with weirdly catchy melodies that tempt you to either dance or hide under the bed — the very thing music critics with their radars on may be looking for.

A few guest vocalists pop up in vivid cameos. .... But the guests are mere added attractions. Some of the most compelling tracks, like "No Death No Danger", "Mala Sangre" and the closing "Covenstead Blues", are all her. .... She creates her own world of sound, and her own context, and we must enter cautiously, never sure what we'll find but ready for anything. [Sep 2025, p.50]

Throughout, Dalt's sensuous vocals, which flip between Spanish and English, are buttressed by inventive use of Alex Lazaro's percussion in rhythms from Dalt's home continent. [Sep 2025, p.87]

Meticulously crafted, haunted and hypnotic. [Sep 2025, p.31]