Lucrecia Dalt A Danger To Ourselves
Lucrecia Dalt's A Danger To Ourselves arrives as a quietly unhinged study in intimacy and cinematic dread, and critics largely agree it succeeds on those terms. Across four professional reviews the record earned an 86.25/100 consensus score, praised for marrying dreamlike drone soundscapes with moments of startling emotional exposure. Tracks like “cosa rara”, “no death no danger”, “caes” and “divina” recur as the album's clearest touchpoints, each balancing fragile lyricism with a pulsing, filmic production palette.
Reviewers consistently note a thematic throughline of near-death experience, surrender and persona shedding that gives the songs their uneasy charge. Pitchfork highlights how “cosa rara” and “caes” transform private desire into expansive, harmonic surrender, while The Quietus and Clash point to noirish, horror-tinged atmospheres that make the record feel like a personal soundtrack to disquiet. The Skinny singles out “divina” and “the common reader” for their sharp, intimate moments where staccato piano and junkyard percussion turn vulnerability into menace.
While praise dominates, critics also emphasize that Dalt's turn toward exposed songwriting and cinematic minimalism is deliberately challenging - a tension between experimentation and accessible pop that will feel essential to some and unsettling to others. For readers searching for an A Danger To Ourselves review, the critical consensus points to an album worth engaging with: its standout tracks emerge repeatedly across professional reviews, and the record stakes a distinct place in Dalt's catalog as a haunting, intimate leap forward.
Critics' Top Tracks
The standout songs that made critics take notice
cosa rara
4 mentions
"The title, borrowed from David Sylvian’s lyrics on opener cosa rara, hints at the album’s preoccupations"— The Skinny
caes
3 mentions
"On July 7, 2025, Lucrecia Dalt ’s heart stopped. The next day... released " caes ," the third single"— Pitchfork
no death no danger
4 mentions
"no death no danger quiver with malicious intent"— The Skinny
The title, borrowed from David Sylvian’s lyrics on opener cosa rara, hints at the album’s preoccupations
Track Ratings
How critics rated each track, relative to this album (0-100). Only tracks that made critics feel something are rated.
cosa rara
amorcito caradura
no death no danger
caes
agüita con sal
hasta el final
divina
acéphale
mala sangre
the common reader
stelliformia
el exceso según cs
covenstead blues
What Critics Are Saying
Deep insights from 5 critics who reviewed this album
Critic's Take
Lucrecia Dalt returns to a delicate, cinematic minimalism on A Danger to Ourselves, where the standout moments - “cosa rara”, “No Death No Danger” and “Hasta El Final” - reveal the album’s intoxicating mix of power and fragility. The reviewer’s prose leans intimate and observant, noting how “cosa rara” could sit on a Killing Eve soundtrack while “No Death No Danger” immerses with mantra-like chorused vocals. There is particular praise for the record’s erotic peaks, with “Hasta El Final” offering a swelling orchestral climax that feels like release. Overall the album is described as quietly unhinged and cinematic, a tender dive into the artist’s idiosyncratic inner world.
Key Points
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The best song, “cosa rara”, stands out for its haunting cyclicality and David Sylvian’s confessional monologue.
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The album’s core strengths are its cinematic minimalism, erotic peaks, and dreamlike drone textures that make intimacy feel dangerously beautiful.
Themes
Critic's Take
In this review Matthew Ismael Ruiz writes that Lucrecia Dalt's A Danger to Ourselves is her most exposed record yet, where personal desire replaces fantastical distance and yields triumphs like “cosa rara” and “caes”. He foregrounds “cosa rara” as an opening duet that builds and releases tension, and praises “caes” as a gorgeously harmonic, sublime surrender inspired by Ana Mendieta and Evelyn McHale. The tone is admiring and precise, locating the album's strength in its intimate lyricism and Sylvian's subtle production influence. Read together, these best tracks show why the best songs on A Danger to Ourselves feel both immediate and thrillingly out there.
Key Points
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The best song, "cosa rara," is the album's commanding opener that builds and releases tension through duet harmonies and dynamic drum loops.
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The album's core strength is its intimacy and exposure, trading fantastical distance for immediate desire and subtle, refined production.
Themes
Critic's Take
Lucrecia Dalt leans into cinema and unease on A Danger To Ourselves, and the best songs - notably “cosa rara” and “no death no danger” - turn that tension into strangely catchy pop. Igor Bannikov writes in an observant, cinephile-packed voice, comparing the record to festival cinema and horror soundtracks while praising its textured production and hypnotic vocal delivery. The album's standout moments fold noirish atmosphere into hooks, so searches for the best tracks on A Danger To Ourselves will reliably surface those eerie, melodic highlights. Overall the record feels like a deliberate, unsettling step toward accessible experimentation, where love and discomfort coexist in compelling songs.
Key Points
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The best song is cinematic and haunting - “cosa rara” stands out as the lead single that defines the album's filmic tension.
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The album's core strengths are its cinematic, horror-tinged atmospherics and textured production that marry experimentalism with oddly catchy pop.
Themes
Critic's Take
Lucrecia Dalt sheds her personae and on A Danger to Ourselves turns inward, making the best songs feel like private revelations. The gorgeous “divina” is a highlight, its staccato piano and snapping fingers underscoring improbable love in a way that cuts straight to the heart. Equally potent are “no death no danger” and “the common reader” - both tremble with malicious intent, junkyard percussion and cinematic dread. This record reads like a horror score for the self, intimate and unnerving in equal measure, which is precisely why listeners asking for the best tracks on A Danger to Ourselves should start with these songs.
Key Points
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The best song, “divina”, is best for its exposed vocals and intimate staccato piano that render vulnerability palpable.
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The album’s core strengths are cinematic, horror-tinged production and a newfound personal directness in songwriting.
Themes
