To uncover the raw essence of emotion in every song, to disrupt established structures, to meticulously shape and gradually build unique moments of tension and surprise within a rich sonic palette—this is the hallmark of ConTRIOlogy. On their debut album Minulo (Ma Records, 2024), created in collaboration with multi-instrumentalist Tomáš Vtípil, the trio offers a striking reinterpretation of Leoš Janáček’s Moravian Folk Poetry in Songs.

ConTRIOlogy—composed of Jana Vondrů (vocals, electronics), Žaneta Vítová (accordion, harmonium, vocals), and Michal Grombiřík (cimbalom, vocals)—fuses folk melodies with a distinct compositional approach. Their arrangements retain the simplicity and organic quality of traditional songs while embracing improvisation and sonic experimentation. Throughout the album, Vtípil’s electronic elements blend seamlessly into the fabric of the music, enhancing its depth without overwhelming it. Beyond arranging, he contributes instrumentally, enriching the soundscape with violin, trumpet, percussion, as well as prepared bass guitar and even a seashell.

“In sound, we explore different colors, employing prepared instruments and extended techniques. Many of the pieces were born from improvisation, which remains a crucial element. Sometimes we take only the melody from a song, other times we draw inspiration from its piano accompaniment. We may perform it as written, or completely transform its rhythm and melody. The lyrics usually remain intact, though not always. The electronic elements were added later in the studio, making the final sound a surprise even for us. Tomáš has an incredible intuition for amplifying a song’s energy and character without overshadowing it. We debated whether to keep the original song titles from Janáček’s collection but ultimately chose to use the names we instinctively call them—usually the first words of the lyrics,” the musicians explain.

ConTRIOlogy, with its distinctive instrumentation of cimbalom, accordion, and voice, focuses on interpreting contemporary classical music and exploring improvisation. The trio was founded in the fall of 2016 at the Janáček Academy of Music and Performing Arts in Brno, driven by a clear vision to create new compositions. Their unique blend of instruments and extended performance techniques unlocks exceptional timbral and sonic possibilities, benefiting both emerging composers and established names such as Petr Graham, Daniel Skála, Ondřej Kyas, Michal Wróblewski, Ian Mikyska, Radim Hanousek, Jiří Lukeš, and others.

From the Media:

“A major discovery from last year. They draw from Janáček’s cycle Moravian Folk Poetry in Songs, but only through select and sometimes subtle elements. They improvise on these fragments (vocals, accordion, cimbalom), and with the addition of Tomáš Vtípil, the resulting sound shifts into genres like drone. The highlight of the album: Zpěvulenka.”
— Dan Sywala, Česká jazzová sklizeň

“A fusion of many things—far from past, undeniable, and ever-present.”
— Tomáš S. Polívka, Česká jazzová sklizeň

“The four protagonists on the album clearly demonstrated that, despite decades of exploration, Moravian folk collections can still be approached with originality and inventiveness, without making the listener feel they’ve heard it all before.”
— Czech Radio Vltava

“Folklore is not just a matter of recalling the past—it continues to evolve. In this light, Minulo appears as a natural continuation of this age-old process of renewal. The album itself captures this evolution, with compositions that carry clear traces of their origins while simultaneously being unmistakably reshaped by electronics. The dialogue between these two worlds has rarely been so powerful and captivating.”
— Kryštof Kočtář, Full Moon magazine (Rating: 85%)

“All ten songs, inspired by Moravian folk melodies collected by Leoš Janáček, are masterfully infused not only with Tomáš Vtípil’s electronic elements but also with the sound of his violin, trumpet, prepared bass guitar, shell (!) and percussion. This thrilling blend of folk, original composition, and improvisation makes it one of the most significant experimental recordings of the year! The listener is immersed in a rich sonic and emotional palette of raw folk expression, electroacoustic textures reminiscent of musique concrète, sonic mysteries, minimalism, ambient and accordion drones, and vocals that range from hauntingly tender to searingly intense.”
— Jan Hocek, Jazzport.cz

“The emphasis on silence and static atmospheres—contrasted with delicate traditional melodies, vocals, acoustic instruments, and occasional avant-garde outbursts—is a key characteristic of both Scandinavian jazz avant-garde and Minulo. The album oscillates between purely acoustic moments (Po zahrádce) and striking electronic textures (Ej Janku). Most often, however, these elements fluidly intertwine, creating a listening experience that transports the audience into a space untouched by everyday concerns. The album’s experiments are imbued with sensitivity, making Minulo a deeply intimate statement. Congratulations!”
— Pavel Zelinka, Frontman.cz

“Minulo blends folk motifs, improvisation, and expansive sonic landscapes with electronic elements. The trio ConTRIOlogy—comprising Jana Vondrů, Žaneta Vítová, and Michal Grombiřík—combines traditional and contemporary approaches, while Tomáš Vtípil, as producer, enriches the sound with his arrangements and instrumentation. ConTRIOlogy highlights the importance of contemporary music and advocates for its greater presence on concert stages alongside historical compositions.”*
— Milan Tesař, Radio Proglas

“A parallel can be drawn with free jazz musicians who sometimes reference fragments of well-known standards to provide the listener with a point of connection—though often, only remnants of the original melodies remain. The album features numerous truly intriguing and innovative passages.”
— Jaroslav Riedel, Harmonie

“Ultimately, what matters is the sensitivity and creativity with which the musicians approach their source material. This trio of contemporary and experimental jazz interpreters has both in abundance. They neither overwork the originals nor reduce them to rigid formulas; instead, they develop them intuitively, without force, without experimenting for the sake of experimentation. They honor the motifs while allowing their improvisational instincts to guide them, freely altering phrasing, tempos, and melodies—introducing unexpected yet harmonious elements. The same applies to Tomáš Vtípil. His added electronics subtly blur rather than overwhelm, while his contributions on prepared bass guitar, trumpet, and violin further enrich the sound. Leoš Janáček, himself an innovator, would surely not have objected to the musicians’ personal interpretations.”
— Tomáš S. Polívka, Kulturní magazín Uni