In the Visual Art section, you can now find new works.

I recently started creating charcoal improvisations on paper while waiting for the next film I’ll be composing music for.

These pieces come from the same place as my music — direct, intuitive, without overthinking.

If you’d like to support my work in a time of streaming and the slow disappearance of physical formats, you can choose one of these artifacts.

David

A new blog post is now available on my Substack:
Read “Notes from the Last Few Days”

This text is a personal reflection on the past few days — on work, music, physical and mental fatigue, and the uncertainty of the times we live in. It moves between everyday moments, creative struggle, and a deeper question of what it means to continue creating in a world that often feels unstable and divided.

It’s not a finished statement, but rather a raw and honest snapshot of where I am right now — both as an artist and as a human being.

Svet sa zbláznil a zásadne sa mení. Napísal som nový text – pár poznámok z posledných dní o práci na filme, únave, varení, hudbe a veciach, ktoré mi bežia hlavou.

👉 https://davidkollar.substack.com/p/poznamky-z-poslednych-dni

Ak ešte riešite 2 % z daní a rozhodnete sa podporiť moju tvorbu, budem za to veľmi vďačný. Všetky podstatné informácie nájdete tu:
👉 https://davidkollar.substack.com/p/podporte-moju-tvorbu-svojimi-2-z

New track: 24 HOURS

24 HOURS is a new spoken-word / breakbeat track released today.
It emerged from accumulated pressure, repetition, and the language of power that reduces complex realities to simple promises.

The piece reflects on time, urgency, and responsibility — not as commentary, but as reaction.
The full track is available on Bandcamp.

A new chapter of Guitar Stories is out.

Guitar Stories is a continuing series of live electric-guitar improvisations, focusing on sound, texture, noise, and the physical presence of the instrument itself.
These pieces are recorded in a single take, without edits or overdubs.

This release is part of an ongoing process rather than a finished statement — a snapshot of where the instrument, the sound, and I currently meet.

Available now on Bandcamp.

I’ve published a new article on my Substack about my first experiment with Suno AI.
I uploaded several of my own pieces, let the algorithm rearrange KoMaRa, my work with Arve Henriksen, and even poems by Valerij Kupka — and then watched what would happen.

In the article, I write about what surprised me, what disappointed me, how far AI-generated “music” can go, and why I’m convinced that human hands and experience remain irreplaceable.
You’ll also find audio examples of what Suno actually produced.

Read it here:
👉 https://davidkollar.substack.com/p/suno-ai-and-pandoras-box

I walk through sunlit Venice, where the beauty of the beach meets the harsh reality of the streets. I see several homeless people. It’s insane how many there are. Then some fast crew comes in, and by morning they’re all gone. Everything is cleaned up — even the mess the homeless left behind.

There are countless parked cars, caravans, and vans where people sleep. In the morning they get up, sit on the sidewalk, go to the beach, and later sleep in their cars again.

Residence stay was supported by Slovak Arts Council.

READ FULL BLOG

I’m sitting on a plane from Budapest to Zürich. From there I’ll fly to Los Angeles. We’re a few seconds before takeoff.
Every time I travel to the U.S., I start to reassess my life.
I woke up at 4 a.m. and left for the airport in Budapest at 4:30.
The drive took me three hours.

We’re gaining speed now. Already in the air.
I don’t really like this feeling.
Noise-cancelling headphones make life in the airplane a bit more bearable.
Just a bit...

READ FULL ARTICLE

Alongside concerts, recordings and travels, I am currently deeply immersed in a new project titled Resonant Layers. The piece explores layered sound structures, improvisation and the idea of contrapuntal thinking beyond traditional polyphony — not as linear voices, but as interacting sonic worlds.

The music moves between acoustic instruments and electronic textures, shaped through studio work, improvisation and post-production. It is a process of gradual transformation — sound evolving in space rather than following a fixed form.

In November 2025, my trip to the United States is directly connected to this project. Part of the recording process takes place in Los Angeles, where I am collaborating with Rick Cox. The project also includes new recordings with Arve Henriksen, expanding the sonic dialogue between guitar, trumpet and electronics.

Resonant Layers is being developed as a full-length studio work.

This project is realized with the financial support of the Slovak Arts Council (FPU – Fond na podporu umenia).

For my 42nd birthday, I decided to make something special.
Something physical, personal and lasting — a complete archive of everything I’ve created so far.

This USB drive includes my entire discography from 2006 to 2025 —
more than 55 albums, film soundtracks, collaborations, EPs, videos, and 3 books in PDF format.
All music is in its original WAV format (44.1–48 kHz / 16–24 bit), the same quality as it was recorded and mixed.

Each piece is hand-sprayed, signed and packed by me.
No two are the same. Every one carries traces of my hands, my home, and my years of work.

In the time of disappearing CDs and unstable streaming platforms,
this USB stands as a personal backup — a document of everything I’ve built and released.
If one day the internet goes silent, this will remain.

Thank you for supporting independent art and music made with heart.

👉 Available now on Bandcamp
🔗 davidkollar.bandcamp.com/merch/david-kollar-complete-discography-2006-2025