Niek van Driel
So incredibly beautiful and modest, the whole LP beautiful.
From the moment I downloaded the LP I have played it over and over and it never bored me. Thank you David & Arve for the beautiful music
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“Over time David and Arve managed to create a specific sound language of their own, which is beautifully reflected in this recording. It goes way beyond just the music, and could be very well described as sound painting, sound sculpting or perhaps sound dancing, with its cross-media concept, that it creates, at least in my perception.
The music flows unhurried, as if freed from the fourth dimension and rhythmic patterns, like wind, which blows gently and unpredictably. It is up to the listener to become part of the process of creation and setting the pace, by which these sound collages take shape within or between the brain cells.
The beauty of this music is like an elixir, which hopefully might cure or at least reduce the suffering, to which all of us are exposed in the world that surrounds us: loneliness, estrangement, desperation, futility… destiny? Music, after all, makes life worth living. As always, the magicians / alchemists behind this sound potion have my eternal gratitude.”
Adam Baruch, Jazz forum
(Album dedicated to Jozef Tkáč, Marta Tkáčová, Barbora Cienka, Andrej Migaš and little Alma)
released September 20, 2022
David Kollar guitars, piano & electronic treatments
Music composed by David Kollar & Arve Henriksen
Recorded 2021-2022 in Mystery Stable studio in Prešov Slovakia & Arve Music Studio, Mølnlycke Sweden
Produced by Kollar & Henriksen
Mixed by Arve Henriksen
Mastering by Helge Sten at Audio Virus Lab
Cover design by Peter Beno
Cover photos by Anna Maria Friman
Thanks to Helge Sten, Anna Maria Friman, Arve Maria Music, Ján Sudzina & Hevhetia Records, Marek Salka.
Supported by Arve Maria Music & FPU
Supported by Fond na podporu Umenia
Kollar treats his music with a deep degree of seriousness and personal involvement, as if each and every one of his projects
was not only his proverbial brain child but as if it was his actual offspring. He treats his instrument as a gateway between his complex ideas and their audible representation, the same way a sculptor treats the chisel or a painter the brush."
- ADAM BARUCH...more