|
|
viewing 1 To 12 of 12 items
|
|
|
|
|
|
|
|
|
|
|
|
2LP
|
|
OP 078LP
|
$35.50
PREORDER
RELEASE DATE: 12/13/2024
The initial seed for this project was planted in 2020 when Nicolás Jaar wrote the song "Piedras" for a concert at the Museum of Memory & Human Rights in Santiago, Chile, which commemorates the victims of human rights violations during the military dictatorship led by Augusto Pinochet between 1973 and 1990. Between 2022-2023, it took on a new form as a radio play entitled Archivos de Radio Piedras, which was shared on a dedicated Telegram channel. In 2024, the play was converted into a 24-channel installation at the University Museum of Mexico City (MUAC), where it was exhibited for five months. Piedras 1 & 2 is a collection of the tracks featured within the play, all new music by Jaar, but partly presented within the play as the music of Salinas Hasbún (the name a composite homage to Jaar's grandmothers, Graciela Salinas and Miriam Hasbún). The play follows two friends mourning the disappearance of Salinas Hasbún, a musician and writer who vanished in the early 2020s. Although they live in a future where technology is advanced, they resort to DIY radio methods because the anonymous group "Las 0cho" has launched a worldwide attack on undersea internet cables, causing a global internet blackout. The play's central theme revolves around the idea that truths, memories and identities speak from the cracks, or the "in-between" spaces. This concept is supported by the way much of the narration unfolds -- in the liminal spaces between radio frequencies. The instability and transitory nature of a constantly shifting radio dial becomes not just a metaphor but the structure of the play itself. It's in these moments of noise, static and interference that the deeper revelations of the story emerge. This disjointed, ever-changing medium mirrors the way memory and trauma operate within the play -- non-linear, slipping through the gaps, found in fragments or ordinary moments, rather than direct transmissions of "official" historical accounts. This notion reaches its climax at the end of the narrative, when a text is discovered in which Salinas speaks of finding a new number in a small pond in a cave mentioned in the first episodes of the radio play. Embodied in the salt lakes of northern Chile, home to the world's oldest bacteria, this randomness disrupts the rigid order of binary code, paving the way for a transformation of digital life.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
OP 055CD
|
Nicolás Jaar is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12" EPs and remixes he put out from 2008 to 2011. Since his first full length (Space Is Only Noise, 2011), he has embarked in multiple divergent path. For the last seven years, he has released a large volume of recordings through his label Other People. In 2015, Nicolás scored Dheepan by director Jacques Audiard (winner of the Palme d'Or at Cannes 2015). In 2016, Jaar launched The Network, a web of 111 fictional radio stations done in collaboration with artists Jena Myung and Maziyar Pahlevan. In 2017, The Network became a book, published by Printed Matter in NY. In the spring of 2019, Jaar was commissioned for a nine-hour improvisation in the Oude Kerk Church in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church. Nicolás is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the Dar Yusuf Nasri Jacir For Art And Research دار يوسف نصري جاسر للفن و للبحث.) Residents so far include composer Sebastian Jatz Rawicz and researcher and artist Rolando Hernández. In the fall of 2019, he presented Incomprehensible Sun, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and Retaining The Energy, But Losing The Image alongside artist Vincent De Belleval which consisted of ten large rotating parabolic reflectors that capture and emit hyper-focalized surround sound. For the first Sharjah Architecture Triennale (curated by Adrian Lahoud in 2019). Nicolás performed a piece for 16 buried speakers in the desert near the Mleiha Archaeological Centre. Nicolás has collaborated with artist Lydia Ourahmane, FKA Twigs, and Patrick Higgins under the name AEAEA.
"Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole" --Pitchfork (8.0)
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
MANA 011LP
|
Limited 2022 restock. "Four new chapters from Nicolás Jaar in Telas. Here, again, it's the odder and more essence-like devotion to sound that is semi-narrative, ambient, and concrète that we heard and were drawn to in Pomegranates. Telas gestures towards a more refined tone, with less sudden shifts and vignettes, incrementally shaping an hour of self-reflective music with tracks building and collapsing across its vinyl sides. When Telas was first drafted and presented to Mana it felt appropriate to mention a sense of monastic retreat. Where Pomegranates often felt epic-like in its scope and shifting scales, this album conveys images of quieter moments spent tending to a vegetable patch within a cloistered garden, perhaps, or the threading of a tapestry with filigree. Nicolás often moves slowly and deliberately throughout, focused on manipulating gauzy fibres and room tone or fluttering around other cryptic actors, so that when bursts of clarity and emotion appear they take on a deeper character. There's a greater sense of contemplation and patience in the album's logic, pointing to a conception of art, melody, and sound which is continuously under construction. In relationship with sister-album Cenizas and surface qualities of recent Against All Logic material it feels that there's a centre being defined and meditated upon. Telas was made between December 2016 and January 2020." Black & clear vinyl in gatefold jacket, with art by Somnath Bhatt.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
OP 055LP
|
2023 restock. Nicolás Jaar is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12" EPs and remixes he put out from 2008 to 2011. Since his first full length (Space Is Only Noise, 2011), he has embarked in multiple divergent path. For the last seven years, he has released a large volume of recordings through his label Other People. In 2015, Nicolás scored Dheepan by director Jacques Audiard (winner of the Palme d'Or at Cannes 2015). In 2016, Jaar launched The Network, a web of 111 fictional radio stations done in collaboration with artists Jena Myung and Maziyar Pahlevan. In 2017, The Network became a book, published by Printed Matter in NY. In the spring of 2019, Jaar was commissioned for a nine-hour improvisation in the Oude Kerk Church in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church. Nicolás is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the Dar Yusuf Nasri Jacir For Art And Research دار يوسف نصري جاسر للفن و للبحث.) Residents so far include composer Sebastian Jatz Rawicz and researcher and artist Rolando Hernández. In the fall of 2019, he presented Incomprehensible Sun, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and Retaining The Energy, But Losing The Image alongside artist Vincent De Belleval which consisted of ten large rotating parabolic reflectors that capture and emit hyper-focalized surround sound. For the first Sharjah Architecture Triennale (curated by Adrian Lahoud in 2019). Nicolás performed a piece for 16 buried speakers in the desert near the Mleiha Archaeological Centre. Nicolás has collaborated with artist Lydia Ourahmane, FKA Twigs, and Patrick Higgins under the name AEAEA.
"Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole" --Pitchfork (8.0)
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD/BOOK
|
|
OP 055LTD-CD
|
Limited edition CD, includes 92-page book. Nicolás Jaar is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12" EPs and remixes he put out from 2008 to 2011. Since his first full length (Space Is Only Noise, 2011), he has embarked in multiple divergent path. For the last seven years, he has released a large volume of recordings through his label Other People. In 2015, Nicolás scored Dheepan by director Jacques Audiard (winner of the Palme d'Or at Cannes 2015). In 2016, Jaar launched The Network, a web of 111 fictional radio stations done in collaboration with artists Jena Myung and Maziyar Pahlevan. In 2017, The Network became a book, published by Printed Matter in NY. In the spring of 2019, Jaar was commissioned for a nine-hour improvisation in the Oude Kerk Church in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church. Nicolás is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the Dar Yusuf Nasri Jacir For Art And Research دار يوسف نصري جاسر للفن و للبحث.) Residents so far include composer Sebastian Jatz Rawicz and researcher and artist Rolando Hernández. In the fall of 2019, he presented Incomprehensible Sun, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and Retaining The Energy, But Losing The Image alongside artist Vincent De Belleval which consisted of ten large rotating parabolic reflectors that capture and emit hyper-focalized surround sound. For the first Sharjah Architecture Triennale (curated by Adrian Lahoud in 2019). Nicolás performed a piece for 16 buried speakers in the desert near the Mleiha Archaeological Centre. Nicolás has collaborated with artist Lydia Ourahmane, FKA Twigs, and Patrick Higgins under the name AEAEA.
"Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole" --Pitchfork (8.0)
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP/BOOK
|
|
OP 055-2LP
|
Sold out, limited repress available in January 2021. Limited "Sound Edition" double-LP, includes 92-page book and O card. Nicolás Jaar is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12" EPs and remixes he put out from 2008 to 2011. Since his first full length (Space Is Only Noise, 2011), he has embarked in multiple divergent path. For the last seven years, he has released a large volume of recordings through his label Other People. In 2015, Nicolás scored Dheepan by director Jacques Audiard (winner of the Palme d'Or at Cannes 2015). In 2016, Jaar launched The Network, a web of 111 fictional radio stations done in collaboration with artists Jena Myung and Maziyar Pahlevan. In 2017, The Network became a book, published by Printed Matter in NY. In the spring of 2019, Jaar was commissioned for a nine-hour improvisation in the Oude Kerk Church in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church. Nicolás is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the Dar Yusuf Nasri Jacir For Art And Research دار يوسف نصري جاسر للفن و للبحث.) Residents so far include composer Sebastian Jatz Rawicz and researcher and artist Rolando Hernández. In the fall of 2019, he presented Incomprehensible Sun, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and Retaining The Energy, But Losing The Image alongside artist Vincent De Belleval which consisted of ten large rotating parabolic reflectors that capture and emit hyper-focalized surround sound. For the first Sharjah Architecture Triennale (curated by Adrian Lahoud in 2019). Nicolás performed a piece for 16 buried speakers in the desert near the Mleiha Archaeological Centre. Nicolás has collaborated with artist Lydia Ourahmane, FKA Twigs, and Patrick Higgins under the name AEAEA.
"Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole" --Pitchfork (8.0)
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
OP 032EP
|
2016 repress; Recorded in New York City between 2011 and 2015.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
OP 022EP
|
Limited 2022 repress. "The Three Sides of Audrey and Why She's All Alone Now"/"No One Is Looking At U." Recorded in New York City between 2011 and 2015.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
CC 009-2CD
|
Second edition with amended tracklisting (the track "I Got A Woman" has been deleted). Four years after his debut EP on Wolf + Lamb, Nicolas Jaar, the New Yorker by way of Chile returns to Circus Company with Space Is Only Noise, an uncompromising manifesto on traces of the past, love lost, and spectres of the future. Jaar has made it quite apparent over the course of his nascent catalog and increasingly sought-after live sets that challenge is an intrinsic part of his creative discourse. Few are the producers of any age with the guts to ride a sub-100-bpm tempo at peak-time in the techno Mecca of Berlin, and fewer still are those who receive an ecstatic hands-in-the-air response for their precocious efforts. It is precisely this sense of risk which elevates Space Is Only Noise beyond the realm of valiant first effort or crossover dance music oddity. Those looking to wade through the sea of Jaar's potential influences will quickly find themselves in the deep waters of golden age Factory records, the home-spun digitalism of Mille Plateaux, Endtroducing-era DJ Shadow and Eric Satie. Jaar gently coaxes his listener into the experience from the opening sounds of rolling waves on "être," but quickly transitions into the sophisticated percussion and meandering melodies that characterize his sound. Jaar seeks, and often finds, beauty in melancholy on the first few tracks of the album. As the album begins to accelerate with "Too Many Kids Finding Rain In The Dust," Jaar confronts us with the often forgotten reality that our sadness is not mutually exclusive on the dancefloor. Suddenly, on "Keep Me There," Jaar's voice appears over the delicious, rumbling melody. Though your hips stir to the relentless bass line and the sexiness of the voices, your heart is jolted out of its luxurious malaise when horns erupt seconds later. "How can you talk about a landscape without showing the sky and the earth?" a voice asks, translating from the French on "être." So Jaar concludes, revisiting the same track to end the album. Complete landscapes such as these are only realized in contrast -- the indulgent against the reserved, the sky against the earth; lightness and darkness. Space Is Only Noise is a tour de force with few modern equals, and a great sign of things to come from one of electronic music's most exciting producers.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
WLM 008EP
|
2017 repress. Dreamt up while living at the Marcy, Wolf + Lamb's infamous fake hotel, Nicolas Jaar presents two slow and enveloping productions, adding a new dimension to his signature sound. The track's tempo slides down the scale at its peak and sensual spoken passages ooze through the gaps. "Time For Us" moves away from formulaic club music and inspires with its dynamic approach. Seth Troxler has laced it with admiration and the record was even unleashed at Burning Man.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
10"
|
|
DS 004EP
|
2017 repress, originally released in 2010. This is a special edition all-white 10" by Nicolas Jaar. It all kicks off with "WOUH," a time-stopping piece with sparse arrangements, quirky gulps of sound and electric ambiance in a complex tapestry of harmony. The anthemic "Love You Gotta Lose Again" moves into contrasting boundless activity with broken beats, triumphant singing and pleasant guitar licks. "Don't Believe The Hype" retreats into mystique again -- a cascading mass of body-moving sound, simmering with secrecy.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
CCS 048EP
|
2014 repress, 2010 single. Nicolas Jaar's Marks And Angles EP marks his debut release on Circus Company, as well as another bold step forward for the musician himself. All three tracks are rooted in house music, but Jaar's rich acoustic textures and elastic time-keeping lead to a far more personal place. They explore strange emotional registers, a co-mingling of melancholy and joy in a shadowy slow dance.
|
viewing 1 To 12 of 12 items
|
|