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

— Pat Mastelotto - King Crimson

n e w s

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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


Soundtrack of my life 

This is the debut album by a duo comprising of Slovak guitarist / composer David Kollar and Norwegian trumpeter / composer Arve Henriksen. It was recorded "virtually" over the Net, by exchanging files between the two musicians, and presents twelve original pieces co-composed by them. 

The music is quite difficult to categorize, as it flows freely between styles and genres. Since it also lacks a clear melodic content, it is ambient in nature and presents more moods and emotions rather than what most listeners consider as music in the straightforward sense of the idiom. 

Henriksen´s trumpet playing is the epitome of Nordic music, with lyrical and melancholic themes, while Kollar´s guitar, with extensive usage of electronics, is mostly incidental, ambient and cinematic in nature. However, when combined together, these two directions amalgamate splendidly, creating surprisingly evocative statements. Although music of such nature can be quite tedious and lethargic, this album manages to avoid that trap with elegance and a continuous listening, although requiring some effort, is eventually rewarding and even inviting. It is a good example of ambient music, which one can listen to more than once, revealing new layers of musical depth with each listening session. 

Kollar and Henriksen are both established musical phenomena and this album confirms their individual talents and cooperative skills, but does not offer any surprising new vistas, being more or less something the followers of these two musicians would expect to hear on the album. Nevertheless it is an elegant, highly aesthetic piece of sound-weaving, which has its faithful followers.


Adam Baruch - LINK

Reflex magazine interview 

Agilnímu slovenskému kytaristovi Davidu Kollarovi (34) se daří hrát se světově uznávanými hudebníky již delší dobu, ale asi nejvíc ho proslavila spolupráce s bubeníkem skupiny King Crimson Patem Mastelottem ve společné skupině KoMaRa. Na začátku léta se mu splnil další sen. Vydal desku Illusion of a Separate World s proslulým norským trumpetistou Arvem Henriksenem.


Letos jste zaznamenal velký úspěch. U slovenského vydavatelství Hevhetia jste společně s norským trumpetistou Arvem Henriksenem vydali album Illusion of a Separate World. Jak jste s deskou spokojený? 

To je těžká otázka. Samozřejmě jsme spokojení. Vybrali jsme 12 ze 17 skladeb. Byl to náročný proces. Vytvořil jsem kompletně hudební skici a Arve do nich dohrával trubky a efekty. Postupně se formoval výsledný materiál. 

S Arvem Henriksenem jste měli už loni společný koncert. Jak jste se setkali? 

Hral jsem sólo koncert v Praze na festivalu Spectaculare, po mně vystupovali Arve a Christian Fennesz. Cestou na zvukovou zkoušku jsme se potkali na chodníku a říkali mi, že si přeložili veceři, aby mě viděli hrát. Po koncertě mi Arve dal svůj e-mail a telefonní číslo. S oběma jsem později vystupoval. 

Na červencovém festivalu Hevhetia ShowCase 2018 v Košicích jste měli společné vystoupení zopakovat. Proč k tomu nedošlo? 

Den před koncertem mi Arve napsal SMS, že mu není dobře. Nechal mě čekat několik hodin, co na to řekne jeho doktor. Večer mi poslal SMS, že nepřijede. Hned jsem psal Nilsi Petteru Molvaerovi, jestli by nepřijel na záskok, ale byl na turné s Eivindem Aarsetem. Telefonoval jsem Fenneszovi a ten byl na horách s manželkou na dovolené. Den předtím jsem se setkal v Košicích s Erikem Truffazem. Ptal se mě, jestli hraji s Arvem a Patem Mastelottem. Říkal, že si někdy musíme zahrát, a dal mi telefon. Tak jsem zavolal jemu. Naštěstí, že byl ještě v Košicích. Zůstal tedy o den déle a vystoupil se mnou. 


Čítaj ďalej

Musik Reviews Germany 

Der slowakische Gitarren-Neuerer, Filmmusik-Komponist und Klangdesigner David Kollar (u.a. auch auf Steven Wilsons "To The Bone" und bei dem österreichischen Clicks-&-Cuts-Künstler Christian Fennesz zu hören) ist im virtuellen Hause Musikreviews ein gern gesehener Gast und macht sich auch mit seinem neuen Projekt keineswegs unbeliebt. 

"Illusion of a Separate World" ist ein Dropbox-Album. Es entstand per Austausch über den gleichnamigen Speicher-Clouddienst und wird seinem Titel insofern gerecht, als Kollar und der Norweger Arve Henriksen - ein meisterlicher Trompeter und seinerseits genauso revolutionär veranlagt, wo der Gegenwartsmusikbetrieb auf Nummer sicher geht - ihre geografische Distanz zueinander aufgehoben haben. Im Winter 2017 verbrachte der Gitarrist einige Zeit bei einem Freund im italienischen Faenza: Trompeter Paolo Ranieri. Dort enstand ein musikalisches Tagebuch, wie er es nennt, als Rumpf für das hier gebotene Material. 

Die zwölf aus 17 Fragmenten zusammengesetzten Tracks funkeln, ohne Funken zu sprühen, wirken gespenstisch und dennoch einladend, streichen Ambient und Drone durch einen weltmusikalischen Filter und sind nur in Teilen jazzig, auf jeden Fall aber freigeistig. Die beiden Schöpfer lernten sich erst 2017 kennen und spielten im Vorfeld der Aufnahmen lediglich zweimal gemeinsam, erst beim Spectaculare Festival in Prag und dann anlässlich eines Hevhetia-Labelkonzerts in der Slowakei. Skandinavische Kühle trifft auf elektronische Verfremdungen und ungleich erdigeren Post Rock, der seit je fester Bestandteil von Kollars Repertoire und eine seiner privaten Vorlieben als Musikhörer gewesen ist. 

Der Filmscore-Charakter vieler Passagen auf dem Album ergibt sich aus geloopten Geräuschen und unorthodoxen Spieltechniken oder einfach nur Arves trickreiche Methoden, seinem Instrument Klänge zu entlocken. David wagt gleichzeitig eine Umdeutung der Gitarre zum Synthesizer, spielt aber zuweilen durchaus auch melodisch im herkömmlichen Sinn. All dies zusammen ergibt weniger Songs als Soundevents oder regelrechte Soundmauern, aufgebaut aus Spuren über Spuren. Die Tücken des Internet-Zeitalters sind in diesem Fall keine solchen gewesen, sondern ein Segen. 

FAZIT: Dass das aus Improvisationen erarbeitete Material für "Illusion of a Separate World" in Teilen auch familiäre Schicksalsschläge von David Kollar verarbeitet, kann man beim Hören allenthalben erahnen. Der Longplayer wirkt wie eine lange Suite, heiß-kalt und voller Möglichkeiten, sich die reale Welt anders zu denken, so wie Henriksen und Kollar Klangmanipulation im Sinne einer Neuerung betreiben.