Crime on The Bunny is the second single after Coronomorphia.
On the way to the forest, I saw a discarded plush Bunny in the screams. I was very sorry for him. He seemed to be raped and thrown away. Maybe he stayed at the scene. I took a picture of him. He was smiling, maybe he liked it.
I decided to set this incident to music.
Music was composed and recorded in real time.
I used an electric guitar with very overhanging strings for recording. Fuzz, Distortion and Ableton loopers.
The drums (except for the first Punk stage) were played later by an American drummer under the pseudonym Gorilla Rose. He is a fan of King Crimson. Do you know him?
Trumpet effects were added by Arve Henriksen.
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 reading12
Christian Fennesz - guitar, synth, electronics 11
Sick Doll 's dream inspired by Piotr Iľjič Čajkovskij.
Cover art by Peter Popelka.
Recorded at Mystery Stable studio Presov, Kaiserstudios Vienna.
Mixed and mastered at Klakson studio.
The album is dedicated to Andrej Tarkovsky and Jozef Kukura.
I started to work on the album from October 2018. My initial ideas were sent to Eric Truffaz. Gradually, I engaged Arve Henriksen, Pat Mastelotto and Christian Fennesz in the process of creation. I also played my sketches for Peter 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. I would like to thank all the musicians participating in the album. I thank Erik Truffaz for the opportunity, Arve Henriksen for being a bottomless well of inspiration, Pat Mastelotto for his giant and always helpful heart. I thank Christian Fennesz for his time and musical structures. I thank my family Janka, David and Barbara for their patience, I thank Jan Sudzin for always telling me "let's releaset it, David". I thank Marek Sálka, Vlado Kačala, my father, Peter Ondruš, Valer Dugas, Tomáš Mutina, Valerij Kupka, Peter Michalovič, Blanka Berkyová for their trust and support and last but not least all the people who were close to me during this creative period.
Illusion of a Separate World is the meeting between innovative Slovakian guitarist, film music composer and sound designer David Kollar (Steven Wilson, Pat Mastelotto, Fennesz, Marco Minnemann, Eivind Aarset) and Norwegian trumpet maestro Arve Henriksen. Shimmering soundscapes and haunting melodies mixed with soundtrack music, ethnic influences, electronic explorations, jazz hybrids, and post-rock riffs are at the core of this meeting.
David Kollar and Arve Henriksen started their collaboration after they met in 2017 and played just twice before the recording. “I played last year at the Spectaculare festival in Prague,” said David “I had a solo performance and after me there was Arve playing with Christian Fennesz. At the end of the festival, we shared our contact details. In few months, we met again on the stage at Hevhetia festival in Slovakia.” The performance was such a bonding experience that the two chose to record an album together.
In December 2017, David spent a week in the city of Faenza, Italy as the guest of his fellow trumpeter and friend Paolo Ranieri. This was the perfect setting to start sketching out improvisations that would become part of Illusion of a Separate World. David drew inspiration from life’s trials and tribulations or from the environment around him. “I played them as musical diaries,” said David. Soundscapes, moody riffs and rhythmic works emerged. He recorded 17 tracks and then gave them to Arve, who layered trumpet, voice and electronics over them.
Through this joining of two unique worlds, in both geographical and cultural senses, the duo has created an anthemic album which reveals an intimate connection. It spans from the moments of quietness that slowly turn into walls of orchestral sounds like in Night Navigator, to the tribal drumming rhythms that Henriksen enriches with his voice-like trumpet in Chimera. When the guitarist transforms a simple clacking on string into a weird rhythm like in Silk spinning, Henriksen then turns it into a pastoral melody. When the trumpeter switches to his trademark soft-speaking voice, like in Mirror Transformations, Kollar places himself in a more subtle context, camouflaging his guitar in synth-like drapings. The Slovakian guitarist then takes the stage and hints at his Americana influences with a delicate guitar and trumpet solo in Solarization, that eventually morphs in an ethnic-flavored electronic experience. Suspended over Kollar’s cloudy drone, Castles in the Air is Arve Henriksen at his best, playing one of his most iconic solos. But he can also turn in some of the most intricate and haunting melodies like in the unsettling Roving Observer, which Kollar initially took inspiration from movie director Tarkovsky.
Intimate, intense, passionate and subtle, Illusion of a Separate World is two artists showing how easy is for them to create music that is immediate and tremendously complex, haunting and gorgeous at same time.
2017 Hevhetia records
"I began work on this album in Autumn 2016. It started with experimentation of sounds from a modular synthetsizer, then I added the guitars and Paolo Ranieri added the trumpets. Some of his riffs I also processed through the synthesizer and each day a song was formed. I used a minimum guitars.
Work on this album was influenced by the diagnosis of my good friend Lukas Halicky, just 34 years old, father of 3 kids with a brain tumour.
Things spiralled downward, as I trusted in a positive result of treatment for my friend and I wanted to help. All this influenced the atmosphere of the songs. This album is a story, like Dostoevsky's notes from the underground. That book fell off its shelf when I thought about the title of this album and its conception. In these circumstances, the painting
from Dušan Očkovič summarised my thoughts (see the album cover). A smoking man deep in thought wearing a striped jumper. I see there Jesus who doesn't want to look me in the eye.
But, as long as the cigarette burns, there is always hope.
2015 Hevhetia Records
Pat Mastelotto - David Kollar - Paolo Raineri
"A beautiful, impenetrable Cthulhu. KoMaRa pushes forward into the unknown" ECHOES AND DUST
"it's living proof that the music it's not as dead as we might think" BRUSHVOX
"Throw your superlatives at this one lads, they've created a monster." PHIL WELLER - MANCHESTER ROCKS
It will challenge you - but it will do so in all the right ways." THE MUSICAL MELTING POT
"Their sound is daring, heavy and frequently brutal" PROG
"Candidate to the Top 3 of the year." BABYBLAUE
".immerse yourself and you will be rewarded." TOTAL MUSIC MAGAZINE
"There is no doubt that KoMaRa attempts to build a new aesthetic in contemporary music." ADAM BARUCH - SOUNDTRACK OF MY LIFE
"Sounds fantastic!! I love it! This is really good and inspiring stuff" EIVIND AARSET
"Very strong candidate to album of the year". FAJNE RECENZJE
"Its great! Amazing playing and production" CHRISTIAN FENNESZ
Boundary-Breaking, Cinematic Industrial Ethno-Rock From
King Crimson’s Pat Mastelotto and Renowned Avant-Experimentalists David Kollar and Paolo Raineri.
It fucks with your head and has the ability to fluctuate your levels of sobriety even if your system is clean of drink and mind-altering drugs. But as far as mindfucks go, this is damnably compelling.With album art coming from the bewilderingly ingenious mind of Tool guitarist Adam Jones, Komara is a foray into obscure territories.
Dirty Smelly sounds like sin and seduction. . ., reverb lavished trumpets and twinkling sound effects spreads about the song’s atmosphere like a vile of blood dropped into a glass of crystal clear water. It blots the palette in mesmeric fashion, the red of the blood moving about the water like tree roots venturing through soil for nutrients. Deeper in those waters a venomous, barking bass line dwells and gives the whole a definitively nastier guise.
Mastelotto has been a member of every King Crimson lineup from 1994 to the present. In addition to King Crimson, he was with Mr Mister, XTC, David Sylvian, the Rembtandts, Steven Wilson, Terry Bozzio, Trey Gunn, Allan Holdsworth, John Paul Jones, and Kimmo Pohjonen, Tony Levin and dozens more.
Slovakian guitarist and composer David Kollar has released nine expansive albums, scored 18 films and worked on many multimedia projects. He’s also worked with Eivind Aarset, Gergo Borlai, Bjorn Charles Dreyer, Lenka Dusilová.
Trumpeter Paolo Raineri takes his instrument and processes it in real-time to create ethereal, otherworldly sounds. The Italian musician combines Scandinavian nu-jazz influences with psychedelic rock, In addition, he’s performed with Stefano Battaglia, Berserk!, The Blessed Beat, Baustelle, Calibro 35, Nada, and Enrico Gabrielli.
released 30 June 2015
David Kollar - guitar, bass, electronic textures
Pat Mastelotto - acoustic and electric drums and percussion
Paolo Raineri - trumpet, vocals and audio mangling
Adrian Benavides & Bill MUnyon- mix engineers
Produced by KOMARA and Adrian Benavides
Recorded 18-19 November at Faust Studio Prague
3.A Collision of Fingerprints
4.She Sat in Black Silt
8.Got Has Left This Place