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History
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Late summer 1994. A bass player called MICHA met two nuts (MERČ, keys; BOŽ, voc) and asked: “You guys are makin’ music… I’ve heard…?” Well, history remained….
The first year was stamped by weird experiments (“Nightwalker”, “Three little pigs”) and many changes in the line up. MAT (g) joined the band, later also MARKE (voc) and FIL (g).
Instruments got exchanged, songs were knocked together and, mainly, permanent discussions struggled… that finally made MERČ leaving where upon BEN (v) came into the band.
Again instruments were newly allocated… for the last time thus far… . The following development could have begun. Countless gigs and rehearsal tapes later sh went into the studio (established by KOLJA) and recorded some tracks out of the first creation period, released through Noiseworks records as their debut GREETINGS FROM THE TRANSCENDENT PIGGY WORLD. Self-produced and –financed this record sold quite extraordinary, just 764/500 copies remained up to now.
Realised by their previous situation of having similar school careers (as well as there were different ages and resulting different examinations, off course), the band’s existence (including rehearsals and planning) wasn’t further possible this way. Following, in 1999 sh decided to interrupt the constant group-working (such as spontaneous space-jams, beer killing or live-acting), but not to bury, what sh is about.
From the beginning, almost all songs were written down is scores, allowing home-practising by one. This kept (now defined as kind of a project) sh the coming years alive. Approximately, every quarter year they came together to check out the new stuff and concretize the future. New horizons rose because of the new musical direction: not to perform live meant to exploit all given technical options, what immanently affected the composing process… perhaps realisable on stage by many guest musicians and with friendly supporting by some processor controlled guys….
Some members made projects by themselves or joined other bands, but always there was no doubt about making another record. The first step to “nihihu” was taken by participating onto an anthology of “modern Sorbian music” named SORBSPIRIT, contributing Je kelko nohow, which was recorded again at KOLJA’s Koltron Music Production in Dresden. This song was anticipating the next album, which should be released in 2004; celebrating the 10th anniversary… here we go!


Line Ups

sh MK I (1994): tepjerjo

Michał (keys, programming)
Micha (bg)
Bož (v)


sh MK II (1994/95): hajtzer

Mat (g)
Micha (bg)
Michał (keys, programming)
Bož (v)


sh MK III (1995):

Michał (keys)
Mat (g)
Marke (v)
Bož (dr)
Micha (bg)


sh MK IV (1995 - ): black hajtzer stonewashed / stoned hajtzer / sh

Mat (g, sax*) *since 2004
Marke (keys)
Fil (g)
Bož (dr)
Ben (v)
Micha (bg)


DISCOGRAPHY

1995 JUDGED
(MC, retired)

1998 LIVE @ NUKSTOCK
(Bootleg, retired)

1998 GREETINGS FROM THE TRANSCENDENT PIGGY WORLD
(NW CD 124)

2000 SORBSPIRIT (Compilation)
(Załožba za serbski lud 23/01)
(contains exclusively Je Kelko Nohow [single version])

2000 ASTAN COMPILATION
(contains Signify The Mischief)

2004 NIHIHU

2010 sh


THE MEANING OF NIHIHU

The sh music direction is orientated onto touching the listener and make him find out about the many details and facets of the musical whole, enable him to understand it always new.
Also it is the sophistication of sh, to guide the audience away from the usual and known musical structures.
sh are and have always been an experimental group, they aren’t palpable and not to classify - what’s in the member’s intention.
The combination of the most different styles, exploring the extremes and using the liberty of the non-conventional: this is what the unique sh is about (not only in Lusatia as part of the Sorbian music scene), demanding the musicians as well as the recipients.
The new work comes up these claims; it is representing the development of a very own and rare stylistics and defines the way (technically and music-theoretically meant and concerning the production) to the whole new. It’s the present top of sh’s working.

“The musical style or genre of sh is tricky to define.
It is the result of the mainly compositional-aesthetic maxim (and the related technique surrounding first the creation of works and subsequently practising them).

The urchin in charge of all this racks his brains as he turns complex ideas into no less complex structures with the aim of finally creating a homogenous, quasi-transcendental, apparently unstructured whole, which avoids previous approaches, values and opinions without violating the existing boundaries.

The spontaneously developed style known as HELGEDOOM (“… a discreet synthesis of heavy music and self-mocking selflessness…”) has currently metamorphosed into a new genre termed NIHIHU (“… neo-bacuninistic-para-illuminational decadence… “).

The aim and hence also the definition of NIHIHU is to find and invent a musical language which is consistently independent, communicating, deep, acausal, polydimensionally interpretable, unprecedented and timeless.” (Marbon S. Kuestner)

NIHIHU is at least strictly all the imaginable conveyance of heterogenic homogeny (and conversely inverse) scarred with minimal-perfectionism spicing the soup of origin without the requirement of any explanation.











Pózdne lěćo 1994. Basista MICHA K. zbliži so skradźu dwěmaj hepjelomaj (BOŽ [v], MERČ [keys]). “Činitaj hudźbu… sym syšał…?” Historiska podawizna z kopicu njewočakowanymi, naposledk pak njewobeńdźujomnymi sćěhami… .
Prěnje lěto takle so stworjeneje kapały běše čas błudnych pospytow (Nightwalker, Three little pigs) a mnohich změnow wobsadku nastupajo. Najprjedy so MAT přidružiwši gitary přimny, poněčim so hišće MARKE (v) a FIL (g) do skupiny namakaštaj. Instrumenty so nowje rozdźělichu, tójšto pěseńčkow so narodźi a mnohe rozestajeńčka wuwalachu… kiž naposledk k MERČowym ćěkaństwu a BENowym přijimowanju wjedźechu. Znowa so hudźbne kompetency přetworjachu – do tež dźensa hišće wobstejaceho cyłka. Z tuteho wokomika bu dalšemu, bjezewšeho wurjadnemu wuwiču hołdowane.
Njeličomne zwučowanja, wustupy a zynkopaski pozdźišo doby so młoda band lěta 1998, nětkle znata jako stoned hajtzer, do Drjezdźan studija KOLJE, zo by někotre z nanajlěpšich spěwčkow natočiła, z tym zdokumentowała a nic naposledk prěni wotrězk skutkowanja wotzamknyła.
Wukon so pod titulom GREETINGS FROM THE TRANSCENDENT PIGGY WORLD wozjewi. Přez šwarnu firmu Noiseworks records so wona, přiwšěm samosprodukowana a zapłaćena tačel wuběrnje wosebje we Łužicy předawaše, poslednje (něhdźe 764) z něhdy 500 eksemplarow so zawěsće wjace dołho we archiwach njenamakaja.
Wony wuspěch so wosebje přez zhromadne šulske wuwiće zmóžni – běchu dźě čłonojo sh, hdyž tež wšelakoreje staroby a z tym rozdźělnym maturowanjom, wšitcy dźěl sławneho Serbskeho gymnazija w Budyšinje, tak zo bě wušne probowanje, wustupowanje a planowanje bjez wječich ćežow móžne. Po tym pak, zo wjetčina wuměłcow šulu zakónči, wopušći a wotpowědnje wonemu wotrězkej žiwjenja sćěhujo winowatostnemu wuklukowanju respective studiju so wěnujo dźeń a bóle do wšěch kóncow tohole tak wulkeho swěta wuleći, njebě dalše wotkrywanje njeznatych, nowych a njewšědnych sferow w dotal zwučenym wašnju wjace zwopawdźujomne, z čehož dyrbjała wězo nowa, změnjena orjentacija wurosć: wobzamkny so, zo so prawidłowne zwučowanja (štož wězo k tomu słušace akiwity kaž tutkanje, improwizowanje a so wuspytanje na srědkach druhich a podobne hepjelstwa tohorunja potrjechi) kaž tež wustupowanje wotstroni, nic pak kapała na sebi.
Ze wšeho spočatka wudźěłachu so dospołne partitury, kotrež tehdy kaž nětkle domjace a swójske nadźěłanje twórbow zmóžnjachu – z lěta 1999 zarukowanje bjezkónčneho traća sh.
Jednotliwi wuspytachu so wuspěšnje w druhich kapałach abo wěnowachu so diwerznym projektam, ale někak kóžde štwórć lěta so zaso zjednoćichu, zo bychu nowostki diskutowali, hdys a hdys zhromadnje hudźbu wufilowali a złoty přichod spřihotowali.
Wažna kročel bě ponowjenje hudźbnotworneje zasady: přetož njebě premisa hižo, jewišća wobswužować dyrbjeć a chcyć, wukrystalizowa so mysl, skomponować z narokom po móžnosći dospołneho wužiwanja cyłkowneho spektruma načasneho studija tworjenčka, kiž, hdyž-li scyła, potom jenoh z kopicu hóstnych hudźbnikow a pomocu komputeřa [sic] reprodukujomne a live realizujomne bywaju.
Hačrunjež so chrobli tepjerjo hłownje swójskim zajimam wěnowachu, njestaji so nihdy nahrawanje dalšeje CD do prašenja. Anticipacija k za 2004 (k dźesaćlětnym jubileju sh) předwidźanemu albumu nihihu bě wobdźělenje na antologiji “moderneje serbskeje hudžby” SORBSPIRIT. W lěće 2000 produkowa so, znowa z pomocu KOLJE w Drjezdźanach JE KELKO NOHOW; spěw, kotryž móhł so zawěrno jako měznik w stawiznach sh wopisać.
Cyłkowna werzija woneho steji tuž woprawnjena na spočatku z dypkom wuńdźaceje tačele –
z kotrejž so sh wospjet na nic jenoh za Łužicu dotal njeznaty teren zwaža. Nihihu zdar!


Wobsadki


sh MK I (1994): tepjerjo

Michał (keys, programming)
Micha (bg)
Bož (v)


sh MK II (1994/95): hajtzer

Mat (g)
Micha (bg)
Michał (keys, programming)
Bož (v)


sh MK III (1995):

Michał (keys)
Mat (g)
Marke (v)
Bož (dr)
Micha (bg)


sh MK IV (1995 - ): black hajtzer stonewashed / stoned hajtzer / sh

Mat (g, sax*)
Marke (keys)
Fil (g)
Bož (dr)
Ben (v)
Micha (bg)

* z lěta 2004


DISKOGRAFIJA

1995 JUDGED
(kaseta, zmorsćena)

1998 LIVE @ NUKSTOCK
(bootleg, zmorsćeny)

1998 GREETINGS FROM THE TRANSCENDENT PIGGY WORLD
(NW CD 124)

2000 SORBSPIRIT (Compilation)
(Załožba za serbski lud 23/01)
(wobsahuje ekskluziwnje Je Kelko Nohow [single version])

2000 ASTAN COMPILATION
(wobsahuje Signify The Mischief)

2004 NIHIHU

2010 sh


Zmysliwosć NIHIHU

Hudźba skupiny sh orjentuje so na zaměr, připosłucharja pohnuć k namakanju dźělčkow a facetow woneho hudźbneho cyłka, tak zo móhł tónle přeco znowa zapřijeć.
Nimotoho wobsteji pospyt, napjaty awditorij wuwjesć ze samozrozumliweho dožiwjenja znatych hudźbnych strukturow.
sh běchu a su eksperimentalna skupina, njehodźa so zarjadować, štož leži we wotmysłsle čłonow.
Kombinowanje najwšelakorišich stilow, wuslědźenje ekstremow, swoboda njekonwencije – takle zgarantuje so jónkrótnosć sh nic jenož serbsku / łužisku scenu nastupajo - bjez toho, zo wotstroni so wěsty narok na hudźacych kaž tež na připosłucharja.

Nowa twórba wotpowěduje tymle narokam, reprezentuje dalewuwiće swojorazneje stilistiki a definuje cyłkowne wašnje (techniskeho, hudźbno – teoretiskeho, produkciskeho razu) znowa; steji z tym zdobom jako hač dotal najwjetše wužadanje kaž tež dotalny wjeršk na čole tworjenja mjeztym 10 lět wobstejaceje kapały.

“… Hudźbny stil abo žanr sh so tak bjezposrědnje definować njehodźi, štož wuchadźa hłownje z kompozitorisko-estetiskeje maksimy (a ze zwisowaceje praksy nastaća a z teho rezultujo nazwučowanja).

Zamołwity hepjel wudźěła sebi hłowu łamajo kompleksne ideje k nic mjenje kompleksnym strukturam z wotmysłom dowutworjenja homogeneho, kwazi-transcendentalneho, pozdatnje astrukturalneho cyłka, kiž měł dotalne wašnja, hódnoty a měnjenja změnić, bjeztoho zo zrani wobstejace hranicy.

Nagle so manifestěrowace zapřijeće HELGEDOOM (“… njenadpadliwa synteza mjez ćežkej hudźbu ze sebjeironiskej njesebićnosću… “) jako wopisowanje hudźbneje kategorije sh so poněčim do noweho žanra metamorfozujo přetwori – NIHIHU (“… neobakuninistisko – parailuminatoriska dekadenca… “).

Zaměr a z tym zdobom definicija NIHIHU je wunamakanje swójskeje, posrědneje, hłubokeje a bjezčasneje hudźbneje rěče...” (Marbon S. Kuestner)

Naposledk je NIHIHU cyłk wšeje předstajomneje tučałki heterogeneje homogenity klinčaceho minimalneho perfekcionizma we so samej rozjasnjowacej prapoliwce...
 
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