Question

Who were koshtis why did they migrate to berer whay dis they do tyerr?

Answer 1

Berlin, Summer of 2011, I'm having a drink with Kostis Kilymis at a café right beside the city's Landwehrkanal. The sun is beating down on us and the mood is care-free. Nonetheless, these are uncertain times for Kilymis: Can he leave Greece, say goodbye to a regular 9-5 dayjob and make it as an artist? Wherever he's going on this trip to Berlin and whomever he's meeting, these questions are rearing their head. Little wonder: Kilymis has been visiting friends like sound artist and improviser Lucio Capece, discussing label questions with Dimitra Lazaridou-Chatzigoga (who, at the time, is about to release her powerful zither-album Stroke by Stroke on his Organised Music from Thessaloniki imprint) and meeting up with the likes of Bill Kouligas, whose Pan label has turned into one of the leading sources for experimental music in the German capital – people, in short, who have already taken that decisive leap of faith. For the past four years, Kilymis has built up this network of like-minded souls, first as a listener, then as a label curator and, finally, as an increasingly self-confident album artist and live performer. After noise-oriented beginning, his personal handwriting has come to delineate a sonic space, in which manipulated field recordings and a wide array of electronic abstractions are engaging in suspenseful dialogues. Temporary Perspectives, a challenging work, which only revealed its full potential upon many listens, represented a creative breakthrough. Released under the Syndromes-moniker, nothing about the record made you go „wow“ straight away. But once you'd invested some time uncovering the underlying concepts and procedures, it suddenly sucked you in like a psychotic vacuum cleaner. Temporary Perspectives was more about ambition and approach than it was about style or genre, allowing Kilymis to turn into every direction imaginable. On his most recent offering, he has made full use of that freedom. No Islands, a quartet with Patrick Farmer, Sarag Hughes and Stephen Cornford contains an intriguing recording of John Cage's „Four6“. Heribert Friedl's Zeitkratzer have only published their version of the piece a year earlier as part of their „Old School“ series and the contrast between their interpretations could hardly be more striking. While Zeitkratzer are working with forceful thrusts of electrifying drone impulses, this new rendition, recorded by Simon Reynell and released on the latter's Another Timbre imprint, is all about delicate buzzes and super-concentrated ambiances, sounding at times, as though it were recorded in the early hours of the morning in a cornfield far outside the city. No Islands also features two delectable improvisations, but the line of demarcation running between the spontaneous impulse and careful composition have long become muddy. In a way, this blurring of borders directly relates to life in general: You always need both planning and coincidence to get the things you really want. It is trivial wisdom, but it seems to be working: Only a few months after the Berlin meeting, Kilymis has moved to Oxford, making music the center of his life once and for al

Answer 2

Answer:

The Koshtis are a group of Maratha and Telugu weavers of cloth made of silk and fine cotton. Their occupation consists of weaving silk-bordered clothes, which are worn by a richer community. They are Hindus, located in Nagpur and Chhattisgarh areas of India.

Explanation:

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