Commotus, the second LP from Barcelona-based noir pop songstress Lucrecia Dalt, takes the minimalist’s route throughout its twelve beauti bizarre scenes. At times rendering Arthur Russell’s legendary bedroom instrumentals, Taking Tiger Mountain’s vibrantly elegant arrangements and Young Marble Giants’ frozen, mutant post punk, Dalt effectively (possibly even unknowingly, definitely sincerely) parsed out the essence of her character and recorded one of the most captivating listens of 2012. You will know her name soon enough, taking space alongside the feminine breakouts of 2012, like Laurel Halo, Holly Herndon and Julia Holter. Holter even contributed her unmistakable and unrivaled harmonium talents to a track on the LP.
Dalt’s hushed coo(l) maintains a darkly comical and intimate vibe when she decides to incorporate vocals, but the instrumental tracks and instruments almost do enough of the talking. Opening track “Saltación” plots along with a freaky little suggestion of beat, using processed plunks and plops with a curiously funky rhythm. Dalt’s processed hums and oms accompany the melody with Laurie Anderson’s grotesque and futuristic beauty.
“Escopolamina” works in a vaguely Peter Hook bass line, although chopped and screwed down to its essence. The sparse guitar and mutant synths could have been salvaged from Cluster’s cutting room floor. “Mohan” brings the grim gloom previously perfected by PJ Harvey, opting for the heavy strings and dark bass. It’s bizarre that Commotus was so slept on this year.