Lucrecia Dalt Credit: Aina Climent Credit: Aina Climent

Colombian producer Lucrecia Dalt worked as a geotechnical engineer before she made crafting experimental electronics tracks a full-time endeavor. In May, Dalt, who now calls Berlin home, released her sixth album, Anticlines (Rvng Intl), which is named for the archlike geological feature of folded sedimentary layers. The album’s minimal, echoing sounds encourage anyone listening to decipher what exactly brought each note to light, to guess what each little detail could mean or reference, and to consider the sonic possibilities and unheard histories in the spaces around them. Dalt has told Fact magazine that she didn’t intend to make any of the sounds on Anticlines reflect her previous occupation: “I’m not making something very direct, like how can I make this sound like rocks?” But intentional or not, a scientific quality remains. Dalt includes lyrics only sparingly, and they’re often fragmented verses—spoken in a severe monotone—that describe parts of bodies and physical objects, sometimes with clinical specificity. And in a May interview with the Quietus, Dalt said she envisions her Anticlines stage show as a formally academic display: “I was thinking of a lecture because of the subjects I’m dealing with in the lyrics. It’s a lecture that is alienated or haunted by a musical performance. This is an attempt at finding ways to make my stage persona more active, confrontational, and also to add more nuances to my work.” I’m still not sure how she’s translated that live, but in any case, she’s a perfect fit for the Hideout’s experimental series, Resonance, which hosts her tonight.   v