"David in particular is one of the most innovative and driven young guitarists on the scene today."”

— Pat Mastelotto - King Crimson

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10/10 Progressive Music Planet! 

David Kollar is a guitarist/multi-instrumentalist from Slovakia. While his name might not be one you know, if you have listened to Steven Wilson’s song Detonation or no-man’s tune Love You To Bits (Bit 4), you have heard his amazing guitar work.  

Mr. Kollar has his own wonderful music to present to the world. His latest album is called Sculpting in Time, where the energy of those guitar solos is focused into music of a more jazzy or modern classical nature but isn’t restricted to those labels. 

This album opens with the track Tendre Lundi, a flowing guitar/trumpet interplay. The first steps of the journey begin here. 

The Path gives the listener a bit of dubby bass and effects paint the music. A rest stop on the journey, offering a different view of the sounds. 

A bit of poetry leads off the tune Prisoner of Time, and it carries the listener into intense guitar tonality – a challenge on this audio trip that ultimately arrives to a peaceful expanse of keyboards. 

The closing track, Balada for Jozef, features intercommunication between guitar and horn, a fond remembrance of what has been. 

In our world, everything is connected. We may not see the threads, but they are there. Many people view music from other parts of the world as different. The bedrock is the same, all musicians just add their unique fingerprints to it. 

Music is a universal that brings us together. 

Mr. Kollar’s work here will capture your ears and carry them along. 

Give Sculpting In Time a listen.. 

Rating: 10/10 

1. Tendre Lundi 
2. At Dusk 
3. A.T. 
4. Episode 1. 
5. Sick Doll’s Dream 
6. Episode 2. (Johan) 
7. Deeper to the Fog 
8. The Path 
9. Episode 3. 
10. Reflections 
11. Sunlight 
12. Prisoner of Time 
13. B. 639 
14. Balada for Jozef 

The Players: 

David Kollar – El. guitars, Ronroco, Guitalele, Electronics, Synth, Sound Processing, Bass, Vocal 12 
Erik Truffaz – Trumpet 1, 2, 12,14 
Arve Henriksen – Trumpet 5,10,12 
Pat Mastelotto – Poetry reading 12 
Christian Fennesz – guitar, synth, electronics 11


PRE-ORDER Digital album, Cd, or Limited Edition Vinyl! 
Official release date December 1. Vinyl will be released on March 1. 2020. 

I started to work on the album from October 2018. My initial ideas were sent to Erik Truffaz. Gradually, I engaged Arve Henriksen, Pat Mastelotto and Christian Fennesz in the process of creation. I also played my sketches for Petr Popelka, a painter, who has an atelier above my studio. We were holding endlessly long academic conversations on creation and art. That's why I decided that the album cover should undoubtedly be made by him. Sculpting in Time is inspired by Andrej Tarkovsky's theory that a movie itself is sculpting of time sculptures. I perceive it similarly in music. These 14 tracks on the album are my time sculptures of what I went through last year. 


David as a guest on new NO MAN ALBUM 

Tim Bowness 


"In terms of recording, the first part of this year was spent re-singing the vocals for no-man’s new album and adding guest musicians to the framework SW and I had come up with in October 2018. 

Bringing professionalism and skills aplenty to the table, Ash Soan, Adam Holzman, David Kollar and the Dave Desmond Brass Quintet greatly enhanced the energy and texture of what was already there, while Bruno Ellingham – known for his work with Massive Attack, amongst many others – provided the final mixes and particularly enhanced the dynamics and rhythms."


Počajevská lavra je mystické miesto. Traja mnísi sa tu zbavili traumatizujúcej minulosti, tu nachádzajú svoj pokoj a zmysel životného naplnenia. Ich príbehy sú metaforami premenenia, osvietenia a zduchovnenia na pozadí divokej ukrajinskej reality. Duchovná i hmotná bieda a zúfalstvo sveta vytvárajú silný sociálno-antropologický konflikt. Film s úctou pozoruje život mníchov, ale aj okázalú nádheru kláštorného prostredia. Človek by sa mal ponoriť do svojho vnútra, aby objavil a pochopil význam vecí podstatných pre život. Duchovný život nie je výsadou vyvolených veriacich, je to potenciál každého človeka. Vždy je tu príležitosť na premenenie, na nový začiatok.

The Holy Dormition Pochayiv Lavra is a mystical place. Here, three monks were freed from the trauma they had suffered in the past; this is where they find inner peace and a sense of purpose to life. Their stories are metaphors of transformation, enlightenment, and spiritualization against the backdrop of the raw Ukrainian reality. The spiritual and material poverty and despair found in the world create strong socio-anthropological conflict. The film observes the life of the monks respectfully but also shows the ostentatious beauty of the monastery. People should focus on their soul to discover and comprehend the meaning of the things that are significant for life. Spiritual life is not a privilege accorded to the chosen devout but is in the potential of every human being. There is always an opportunity for transformation, a new beginning.

Production / Produkcia: Filmpark production (SK) Co-production / Koprodukcia: Rozhlas a televízia Slovenska (SK) Producer / Producent: Peter Neveďal Director / Réžia: Erik Praus DOP / Kamera: Peter Kováč Editors / Strih: Peter Harum Music / Hudba: David Kollár Sound / Zvuk: Michal Džadoň Dramaturgia: Ingrid Mayerová, Ján Gogola Cast / Hrajú: otec Gabriel, otec Vicilentius, otec Nazarij

9/10 starts on Frame music 

Written by: Kev Rowland  

Every so often I am contacted by a band/label/PR company I haven’t come across before, and am asked if I would be interested in hearing the new release by someone I am not aware of. Generally I agree, as it is one of the best ways of discovering new music, and sometimes I come away quite astounded at what I am listening to, and this is definitely one of those instances. I am probably one of the few progheads in the world who hasn’t been totally impressed with some of Steve Wilson’s solo albums, so rarely seek them out any more, so hadn’t come across Slovakian guitarist, film music composer and sound designer David Kollar, who was invited by Wilson to play on two tracks on ‘To the Bone’ and then as opening act in the European leg of his shows. King Crimson’s Pat Mastelotto also took a serious interest in Kollar’s work, and joined forces with him and trumpeter Paolo Ranieri to create the KoMaRa project in 2015. David’s other collaborators include Fennesz, Marco Minnemann, and Gergo Borlai. Mastelotto describes his style as “An interesting combination of Eastern European classical influences, jazz, ambient, techno, IDM, trippy heavy blues rock mixed with Eastern folk styles, played on a homemade guitar through a quirky combination of pedals and effects. I know critics often like to put music into categories but with David’s music that’s very difficult to do.” Here he has joined forces with Norwegian trumpet maestro Arve Henriksen: after meeting at a couple of festivals in 2017 they decided it would be a good idea to join forces, and this is the result. 

Right from the off I decided not to try and work out what instrument was providing what sound, as many have been treated and changed, but instead went with the flow which is possibly the only way to describe this music, as it feels like a river full of vitality, eddies and currents, with a great deal of movement happening under the surface. It’s not ambient, or jazz, or fusion, but somehow a mixture of all these and much more. This is progressive rock in its truest sense, and while there are times when it can be very gentle indeed, there are others when a strident guitar cuts through like a scimitar through a curtain. The production of this album is amazing, with everything captured just as it should be, and the result is a wall of noise that is also ethereal and breathtaking in its audacity. Simplicity and complexity go hand in hand, and one never knows what is going to happen next. Tribal style percussion may move the music in one direction, while a treated soprano trumpet could move it in another at the drop of a feather. There are times when Arve provides some vocals, but yet again it is another musical instrument as opposed to a lead role. 

Overall this is an incredible release, and I’m not really sure that I have heard anything quite like this before. It may not be to everyone’s tastes, but if you want to hear music that is both refusing to conform to any sense of normality while also breaking boundaries and being inherently enjoyable throughout, then this is it. 

Rating: 9/10 


Track list: 
1. Night Navigator 
2. Mirror Transformations 
3. Silk Spinning 
4. Chimera 
5. The Spiral Turn 
6. Solarization 
7. Vision of Light 
8. Castles In The Air 
9. Bird Of Passage 
10. Augmented Reality 
11. Roving Observer 
12. Beyond the iCloud 



Salt Peanuts about Illusion of a separate world 

Slovakian guitarist-sound designer David Kollar and Norwegian trumpeter Arve Henriksen collaborative project began after the two met at at the Spectaculare festival in Prague on January 2017. Henriksen played there with Austrian guitarist-sound artist Christian Fennesz and Koller presented a solo performance. On August 2017 Kollar and Henriksen performed twice together at the Hevhetia festival in Košice, Slovakia and decided to record an album. 

Kollar began sketching the basic improvised parts of «llusion of a Separate World» on December 2017. He thought about these basic pieces as musical diaries, inspired from «life’s trials and tribulations or from the environment». Later Henriksen layered his own trumpet, voice and electronics over these pieces. The geographical distance did not affect the intimate spirit of this project or its haunting, exploratory soundscapes. 

Kollar and Henriksen share common sonic Worlds. Their clever, delicate use of electronics and Henriksen’s fragile voice add a subtle, orchestral dimension to the gentle, ethereal soundscapes. Some of these suggestive soundscapes like «Chimera» and «Roving Observer», the latter is inspired by Russian experimental director Andrei Tarkovsky, have a profound, unsettling cinematic quality, as of a prophecy-warning about a dystopian, environment reality, passing through many barren, desolate sceneries. The spacey, sparse ambiance of pieces like «The Spiral Turn» and «Solarization» intensify the sonic perspective of watching our planet from a secured, faraway distance. Henriksen and Kollar most poetic, collaborative language is offered on «Castles in the Air» where Henriksen sings softly through his trumpet a mysterious, beautiful theme and Kollar adds atmospheric guitar lines and minimalist rhythmic patterns. 

Eyal Hareuveni