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Sonic Pulses

by David Kollar

supported by
sounds and silence
sounds and silence thumbnail
sounds and silence Another gem from one of the most innovative guitarists. Layer after layer new musical experience is opening. Thanks, David! Favorite track: Pulse 3.
Peter Novak(Rasping Boy)
Peter Novak(Rasping Boy) thumbnail
Peter Novak(Rasping Boy) For me this album shows that sometimes author is not significant, I think David here morphes his work to trandescent to universal music language although is briliant artist with own music signature. It brings me in mind to great even clasicall composition works...
Pulse 1 11:54
Pulse 2 07:32
Pulse 3 13:01
Pulse 4 07:42


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


released February 5, 2021

All music by David Kollar
Mix by David Kollar
Mastering by Tomas Mutina THXM

Cover art by David Kollar


all rights reserved



David Kollar Prešovský kraj, Slovakia

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."
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