kontrans159: Bishop / Blonk / Mallozzi / Rosaly: At The Hideout.

kontrans159: Bishop / Blonk / Mallozzi / Rosaly: At The Hideout.
kontrans159: Bishop / Blonk / Mallozzi / Rosaly: At The Hideout.
Label: Kontrans
Catalog Number: kontrans159
Availability: In Stock
Price: €10.50

Jeb Bishop – trombone
Jaap Blonk – voice, electronics
Lou Mallozzi – turntables, cds, microphones, mixer
Frank Rosaly – drums, percussion

Ace Gotoid     8:19
Tido Chage    11:48
Couch Ogah    15:58
Cachoo Tug     9:45
Hiccogh It    16:18

Recorded by David Zuchowski at The Hideout, Chicago, March 14, 2012
Mastered at Mediatrack, Amsterdam
Executive Producer Jaap Blonk
Design by Melle Hammer

All Tracks by Jeb Bishop (BMI), Jaap Blonk (Buma/Stemra), Lou Mallozzi (BMI) and Frank Rosaly (BMI)    



This spring singular Dutch improvising vocalist and sound artist Jaap Blonk made his first visit to Chicago in seven years, and five months later he's back in support of At the Hideout (Kontrans), a jarring, visceral album he recorded on that trip. For this concert he reunites with the lineup on the record: trombonist Jeb Bishop, sound artist Lou Mallozzi, and drummer Frank Rosaly. Bishop is Blonk's garrulous front-line partner, and between the two of them they crowd the music with hysterical vocalizations, wild glissandos, rubbery farts, spit-flecked sibilance, and coarse melodic lines that contrast and collide. Blonk also applies his athletic articulation to the slicing and dicing of languages I don't understand—I assume they're real languages, not invented, but to someone fluent only in English the difference ultimately doesn't matter much. Rosaly and Mallozzi alternately prod and trip up the two front men—the former's skittering, tactile percussion privileges chaos and texture over propulsion, and the latter generates a kaleidoscopic array of sounds, juggling distended and distorted CD and record samples, abstract electronic tones, and bits of unidentifiable noise. Blonk is also credited with electronics (I can't say for sure who's responsible for what), and together they muster a rich variety that fills in the cracks in the group's jagged improvisations—some of the most compelling and confrontational I've heard this year. —Peter Margasak