HUESO RECORDS

Founded in 2005, Hueso Records (HR) is a music label that began releasing projects in Brooklyn, US and Santiago, Chile. The label has three main interests:

1- To find, restore and release music that has never been released before, either because there weren’t enough funds or public interest to produce it when the music was originally recorded.

2- To work with people who don’t consider themselves musicians, rather they understand their audio practice as an extension of their main body of work as visual artists, architects, graphic designers or just as thinkers.

3- Professional musicians are the other point that completes this triangle, because they have the knowledge and the experience to show us how the music industry works these days.

ATOM™

RADETZKY LOOPS VOL1 & VOL2 / HR-22 / HR-23 / 12” VINYL / 2013

To honor Austrian field marshal Joseph Radetzky von Radetz after his victory in the battle of Custoza, a musical piece was commissioned from composer Johann Strauss. The resulting military march –the Radetzky March from 1848– is to this day still used as the official presentation march of Chile’s main school for military officers. From of a vintage version of the original march by Strauss –and with a collaboration with sculptor Iván Navarro in mind– Atom™ has created a total of 38 locked grooves, a truly experimental work in his signature über-neat style. These tracks were first heard by the public as part of a public-art piece commissioned by Santiago’s 11th New Media Biennial. They were piped through speakers placed inside a 5-ton mining truck tire laid flat in front of the city’s Museo de Bellas Artes. Sold separately, Radetzky Loops Vol. 1 contains loops #1 through #20, while Radetzky Loops Vol. 2 contains loops #21 through #38. Recorded in Brooklyn and The Bowman Suite in Santiago de Chile, and published by Freibank Musikverlag, Hamburg (under exclusive license of the Atom™_Audio_Archive); mastered for vinyl by Leandro González at Stereodisk, Brooklyn.

IVÁN NAVARRO

NO MAN’S LAND / HR-04 / CD / 2008

This record contains three tracks that, at different places and times, have been presented in association with sculpture & installation. The first one is No Soy De Aquí, Ni Soy De Allá (written by Facundo Cabral in 1970, interpreted by Nutria NN) is the soundtrack to Navarro’s 2006 project Flashlight: I’m Not From Here, I’m Not From There, whose video shows an immigrant character pushing a wheelbarrow made out of fluorescent light tubes through a barren industrial landscape. The second one is Juan Sin Tierra (written by Jorge Saldana in 1910, interpreted by Nutria NN) is the soundtrack to Navarro’s 2004 piece Homeless Lamp: The Juice Sucker, whose video shows the wanderings of two men pushing a shopping cart made out of fluorescent light tubes through the streets of Chelsea (New York City’s art-gallery district) as they repeatedly –and illegally– tap into the city’s street power-sources to “steal” the energy necessary to light up the rolling sculpture. The third track is Nowhere Man (written by Lennon/McCartney in 1966, interpreted by Courtney Smith & Nutria NN), the soundtrack to the 2006 project Die Again (Monument for Tony Smith), where –inside a 12 feet black plywood cube inside which everything is dark except for a few mirrored light boxes that suggest an endless space– an acoustic version of The Beatles’ song guides the visitors to a complex reflection on the transient experience of expatriates and the dark limbo of the disappeared.

NUTRIA NN

ESTADIO CHILE / HR-05 / CD / 2008

Featuring Brooklyn-based, ex-Maestro (HR-10) Christian Torres as Nutria NN, playing guitar and narrating the poem Estadio Chile, attributed to Chilean folk-singer & activist Victor Jara in September 1973, just hours before his death.

The song was recorded to be the soundtrack of Iván Navarro’s video The Missing Monument for Washington DC or a Proposal for a Monument for Victor Jara.

IVÁN NAVARRO

DECOMPOSITION I / HR-19 / 12” VINYL / 2013

Brooklyn-based Chilean artist Iván Navarro has been interested in sound experimentation now for more than a decade, collaborating with early line-ups of Nutria NN and participating in several other still unreleased musical adventures including Grupo Nada, Los Ñatos and Los Históricos, until finally canalizing his interest through the creation of the Hueso Records Label. This is his first truly personal output, a conceptual record inspired by an invitation to take part in a collection of chess-game related artworks, commissioned in New York City by Prince Street Editions. Decomposition is a nihilistic exploration in sound, recorded as Navarro destroys several sets of chess-pieces through an old school hand-powered meat-grinder.