LUCRECIA DALT (col / rvng. intl.) & MORITZ FASBENDER

In the organizer's words:

Jazzclub Leipzig and UT Connewitz invite you

Born in Pereira, Colombia, Lucrecia Dalt has now established a firm place for herself in contemporary experimental music. Her professional career - from civil engineer to sound artist - began while working for a geotechnical company in Medellín, where she discovered computer-aided music production.

On RVNG Intl. Dalt released a trilogy - "Anticlines" (2018), "No era sólida" (2020) and "¡Ay!" (2022) - with each of which she expanded her sound palette and conceptual depth. "¡Ay!" was particularly well received by critics and listeners, earning The Wire's Album of the Year award and making the top ten of Pitchfork's year-end charts, The New York Times and NPR's Best of the Year list. During this time, Dalt also ventured into film scoring for television, composing original music for the HBO series "The Baby" (2022) and more recently for the critically acclaimed film "On Becoming a Guinea Fowl" (2024), 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 earlier albums focused on character-based narratives and entanglements with the outside world, "A Danger to Ourselves" turns decidedly inward. The album was created from fragmentary notes that Dalt had scribbled while on tour and in the early stages of a new relationship - intimate thoughts that were translated into musical compositions.

Working closely with percussionist Alex Lázaro, Dalt created pieces that generate their 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, infused with elastic soundscapes and hypnotizing 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 voice and instrument emerge with greater presence and detail.

Moritz Fasbender uniquely fuses her classical background on the grand piano with the as yet uncharted field of electroacoustics in piano music: the result is a radical collage of special sounds that creates an interwoven musical landscape of extraordinary beauty. Her work for countless theater and radio productions as well as her studies in electroacoustic composition have had a significant influence on the sound language of her current works. Between piano and synthesizer, between natural and asserted space, between reality and imagined film image, Fasbender's music moves beyond the conventional and breaks the rules of contemporary classical, neoclassical and jazz music.

"With Fasbender, we are listening to a woman who is setting new standards on the borderline between classical and electronic music, sleepwalking between analog sound and virtual space - most recently captured on her debut 13 RABBITS, released as a split release on Sony's XXIM Records and Edition Dur/Dusssmann. She works with a very specific attention to echo chambers and noise and uses electronics like a chef uses spices. A radical and at the same time dark, nocturnal suite. A movie score for lonely nights." (Max Dax)