![]() This was a magical way to discover an equally magical artist, and we’ve been fans ever since. For probably an hour, the chamber was filled up with sounds that, despite the album’s relationship to geology, seemed at odds with the space – nebulous and unsolid, fractured and ethereal, alternately soothing and anxious. Or, if not quite that, it was at least the first time everyone I knew was talking about her work. In my memory, Dalt is a speck in the distance, barely visible in the improbably dark hall lit by dim salt chandeliers, performing compositions from Anticlines, a brilliant record and something of a breakthrough. Anyhow, we were mostly unfamiliar with Lucrecia Dalt, who was about to perform, and kinda felt like shit, but how could we miss the opportunity to sit in a place like this? We were there for Unsound, but more for the experience of being down in the mines than anything related to music. My partner and I, both jetlagged and flu-ish, made our way up there, the air burning our sinuses in a not altogether unpleasant way. ![]() In the chamber, there’s a balcony or maybe it’s more of a mezzanine. The air down there is unlike anything you’ve ever breathed. What’s there is a claustrophobic elevator and a long hallway leading to a massive and ornately carved chamber dating back to the nineteenth century. Fly, you fools!īut of course there's no Balrog in those depths, or goofy little hobbits or whatever. One can easily imagine a Balrog barreling down its tunnels, smashing up salt statuary of popes and saints and other sundry figures of import, the salty Last Supper, relief carvings and chandeliers, chapels and concert hall. ![]() A real-life Moria, full of wonders but undeniably terrifying in its way. But the thing is, calling it a “mine” doesn’t cut it. ![]() Though defunct since the 90s, there’s been a sprawling salt mine just outside of Kraków at Wieliczka for nearly 800 years. ![]()
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