Difference between revisions of "Kilhets"
From Unearthing The Music
(Created page with "A group with a changing line-up, Kilhets was established in 1978 by Peter Křečan. Its core members were jazz guitarist Miroslav Šimáček and guitarist and saxophonist Miko...") |
Diogooutra (talk | contribs) m |
||
| (One intermediate revision by one other user not shown) | |||
| Line 1: | Line 1: | ||
| − | A group with a changing line-up, Kilhets was established in 1978 by Peter Křečan. Its core members were jazz guitarist Miroslav Šimáček and guitarist and saxophonist Mikoláš Chadima - Křečan's friend, with whom he collaborated on other alternative projects. They also cooperated with František Skála, a sculptor and illustrator of children's books. Until their split in 1980, triggered by Křečan's emigration, Kilhets gave a total of eight concerts. The group introduced an original creative method and a language of collective improvisation. They were famous for the long, bewildering pauses and performances that balanced on the edge of noise. During the 8th Prague Jazz Days in 1979 they began their performance while the Amalgam group were still playing. They were known for their distinctive costumes, which helped them build up a specific, ritual ambience on the one hand, and obscure the individual features of the musicians on the other. Like the costumes of US concept art group The Residents, Kilhets’ appearance was part of a remarkable strategy of creating a conceptually consistent, visual and musical event. | + | [[File:A-3348125-1373019996-5605.jpeg.jpg|thumb|Kilhets. Photo sourced from Discogs]] |
| + | A group with a changing line-up, Kilhets was established in 1978 by [[Peter Křečan]]. Its core members were jazz guitarist Miroslav Šimáček and guitarist and saxophonist [[Mikoláš Chadima]] - Křečan's friend, with whom he collaborated on other alternative projects. They also cooperated with František Skála, a sculptor and illustrator of children's books. Until their split in 1980, triggered by Křečan's emigration, Kilhets gave a total of eight concerts. The group introduced an original creative method and a language of collective improvisation. They were famous for the long, bewildering pauses and performances that balanced on the edge of noise. During the 8th Prague Jazz Days in 1979 they began their performance while the Amalgam group were still playing. They were known for their distinctive costumes, which helped them build up a specific, ritual ambience on the one hand, and obscure the individual features of the musicians on the other. Like the costumes of US concept art group The Residents, Kilhets’ appearance was part of a remarkable strategy of creating a conceptually consistent, visual and musical event. | ||
=== Related Content === | === Related Content === | ||
| − | [[Hues of Independence]] | + | * [[Hues of Independence]] |
| + | * [[Czechmate: The Frustrations of Sharing a Party Line]] | ||
| + | * [[Composing like Captain Nemo. Petr Kofroň – interview]] | ||
| + | * [[The Impact of Chris Cutler and Rock in Opposition on Czech Rock Music in the Communist Era]] | ||
| − | [[ | + | [[Category: Czechoslovakian Profiles]] [[Category: Czech Profiles]] |
| − | |||
| − | |||
| − | |||
| − | [[Category: | ||
Latest revision as of 13:13, 13 April 2021
A group with a changing line-up, Kilhets was established in 1978 by Peter Křečan. Its core members were jazz guitarist Miroslav Šimáček and guitarist and saxophonist Mikoláš Chadima - Křečan's friend, with whom he collaborated on other alternative projects. They also cooperated with František Skála, a sculptor and illustrator of children's books. Until their split in 1980, triggered by Křečan's emigration, Kilhets gave a total of eight concerts. The group introduced an original creative method and a language of collective improvisation. They were famous for the long, bewildering pauses and performances that balanced on the edge of noise. During the 8th Prague Jazz Days in 1979 they began their performance while the Amalgam group were still playing. They were known for their distinctive costumes, which helped them build up a specific, ritual ambience on the one hand, and obscure the individual features of the musicians on the other. Like the costumes of US concept art group The Residents, Kilhets’ appearance was part of a remarkable strategy of creating a conceptually consistent, visual and musical event.