It was not easy to devote myself to composing music when 92 km from my town the war is raging in Ukraine.


The Vision Man is the music for the radio play prepared by Slovak Radio. It is a play about the dead river Ipeľ, in which life has completely washed away. I had 4 days to compose the music. Doing music for a text is something completely

It was not easy to devote myself to composing music when 92 km from my town the war is raging in Ukraine.


The Vision Man is the music for the radio play prepared by Slovak Radio. It is a play about the dead river Ipeľ, in which life has completely washed away. I had 4 days to compose the music. Doing music for a text is something completely different from doing music for a film. It feels like 2D to me. You can't use music to push the lyrics of a radio play. The music is very quiet in it and underscores the text. I have decided to post these 17 samples of the music that I have prepared in my little studio.
Thank you for your support.

Sincerely, David

THE BEST JAZZ ALBUM by Radio Head awards.
Nomination for the best album by Tatrabank foundation


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

THE BEST JAZZ ALBUM by Radio Head awards.
Nomination for the best album by Tatrabank foundation


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.

This music was composed in real time. 4 days a week I layered a baritone guitar and strings. The first layer decided on the length of the song. Then I recorded another 3 layers. In the final, each song has 4 layers recorded in a row.

I recommend listening to this music alone with your eyes closed from start to finish.



Music based on the use of

This music was composed in real time. 4 days a week I layered a baritone guitar and strings. The first layer decided on the length of the song. Then I recorded another 3 layers. In the final, each song has 4 layers recorded in a row.

I recommend listening to this music alone with your eyes closed from start to finish.



Music based on the use of drones, or the delays that need to be archetypal for Japan, India and Australia, spread in Europe in the 20th century thanks to minimalism, alternative rock and electronic music. But since 1958, when the American La Monte Young introduced his Trio for Strings, a lot of water has passed. Through John Cale, Terry Riley, Klaus Schulz, Brian Eno, the Biosphere, but also George Crumb and his Black Angels and Henry Górecký's string quartets, the drone has spread to contemporary progressive music. But only some can use it freshly and with extraordinary suggestion. Listen to new "coronavirus" recordings by David Kollar. They will penetrate all the pores of your body, shake you, fill you with humility and defiance, heal and arouse ...

Jan Hocek
(Jazzport, HIS Voice, skjazz.sk)


Supported by Music Fund Slovakia

We are pleased to announce the new release: „Cosmopol“, with the amazing Slovakian guitarist David Kollar, who worked among others with Steven Wilson, Pat Mastelotto, Fennesz, Marco Minnemann, Eivind Aarset and Arve Henriksen.

In April 2019, David came to Berlin for studio sessions and a club gig. He expressed strong musical attraction to the

We are pleased to announce the new release: „Cosmopol“, with the amazing Slovakian guitarist David Kollar, who worked among others with Steven Wilson, Pat Mastelotto, Fennesz, Marco Minnemann, Eivind Aarset and Arve Henriksen.

In April 2019, David came to Berlin for studio sessions and a club gig. He expressed strong musical attraction to the city, „with its lavish history, musical community and typical sound of electronic music.“ His experience in experimental and progressive rock merged with the intuitive musical fabric of Bernhard Wöstheinrich.

Before the recording sessions, they spent five days in the capital, jamming during the day and exploring the musical scenes at night. The harmony between both musicians manifested into a deeply complex, yet seamlessly flowing session. David: „I had the opportunity to absorb the energy of this amazing city. Our joint meeting is recorded musically on this album.“

After the jamming and a club gig, both artists felt ready for a final session. All tracks were recorded in a single day. They represent their experiences during these five days in Berlin’s summer. Sometimes spherical, sometimes driving, rushing or even fragile - but always dense, rebellious and diverse: like the city itself.

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A brief travelogue by David Kollar:

"I spent 5 days in Berlin.
I was looking for the cheapest accommodation. I stayed in Kreuzberg. I had no idea it was a Turkish part of town. I was afraid there would be unrest and it would not be safe for me. I went to Bernhard's house every morning. We talked about music and Bernhard showed me a part of town every day. The building in which he lives is also interesting. It has all floors painted, no elevator.

There is an artistic atmosphere in Berlin. Lots of sounds on the streets. In Berlin, in my opinion, you will not find a place where there is silence.

The whole atmosphere got on our album. When someone tells me Berlin, I imagine the sound of electronic music for 90 years. Electronically ritual and Samanic rhythm of inner freedom. Long musical forms, industrial sounds of synthesizers." ̶ David Kollar
credits
released November 6, 2020

Bernhard Wöstheinrich – Synthesizer, Keyboards, Sequencer
David Kollar – David Kollar - guitars

Framedrums on "Topography" and "Cosmopol" by Volker Lankow

Performed by Wöstheinrich and Kollar

Recorded live in the Unsung Productions Studio, Berlin, Germany, on April 29, 2019.
Recording Engineer: Benjamin Schäfer

Produced and edited by Bernhard Wöstheinrich,
Mixed and mastered by Markus Reuter

Artwork by studioflokati.de

Photography by David Suchar www.davidsuchar.com

www.davidkollar.com