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01. Nicolas Jaar - Cangilón
02. Nicolas Jaar - Piedras
03. Nicolas Jaar - Aquí
04. Nicolas Jaar - Agua pa fantasmas
05. Nicolas Jaar - Rio de las tumbas
06. Nicolas Jaar - Viento
07. Nicolas Jaar - Mi viejita
08. Nicolas Jaar - No Hope
09. Nicolas Jaar - Radio Chomio (con Eli Wewentxu)
10. Nicolas Jaar - Rio radio correspondencia anfibia
11. Nicolas Jaar - 3eee
12. Nicolas Jaar - F Collect
13. Nicolas Jaar - Even heaven is uneven
14. Nicolas Jaar - El azar
15. Nicolas Jaar - I, you
16. Nicolas Jaar - Heterodina
17. Nicolas Jaar - Sin Conexión
18. Nicolas Jaar - SSS1
19. Nicolas Jaar - SSS2
20. Nicolas Jaar - SSS3
ARTIST
TITLE
Piedras 1 & 2
FORMAT
2LP

LABEL
CATALOG #
OP 078LP OP 078LP
GENRE
RELEASE DATE
1/17/2025

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.