Zápisky I. Alchýmia úspechu a prehry digi kniha

by David Kollar, Terminal State

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    Zápisky I. je výber z denníkov, ktoré si David Kollar píše od roku 2005. Na začiatku bola jeho potreba zaznamenať momentálne pocity, skúsenosti a zážitky, postupne sa z toho stal návyk. Denníky mu slúžia ako zrkadlo, pohľad do jeho vnútra, do jeho okolia, šanca ako získať sebareflexiu, posúvať sa ďalej a nerobiť tie isté chyby.
    Súčasťu knihy je hudba s remixami skladieb z predchádzajúcich albumov Davida Kollára Tomašom Mutinom.
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    Get all 30 David Kollar releases available on Bandcamp and save 35%.

    Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Fantastic medieval - Soundtrack for TV documentary, Unexpected Isolation, Crime On The Bunny (Single), The sound behind the house, CORONOMORPHIA (single), Sculpting in Time, Kollar/Chojnacki - Event Horizon live 2019, Volanie - original soundtrack, and 22 more. , and , .

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"Sedí mucha na stene, spinká a buvinká potvora malinká" Slovak folk song


REMIXES by Terminal State

Album was released at 30. Jun 2013.
"I decided to record the album Son in the beginning of this year, when my son David
was waiting for a second surgery. It was very difficult and painful period, which I also took as a challenge to move somewhere else.
I recorded the feelings that were inside me and around me. I wanted to conceive the album differently than I did before.
I used only electric guitar on which I made all the noises and sounds; mandoline,
which I play with bow, Gamelan, a voice of Lenka Dusilová and India Czajkowska.
The compositions are based on improvisations, which I recorded in Warsaw in a studio of Tadeusz Sudnik and later in my studio in Slovakia.
The final material was longer than three hours. From that I chose what is on the album.
David Kollar - guitars, bowed mandoline, effects, gamelan, vocal
Lenka Dusilova - vocals
India Czajkowska - vocals


released July 1, 2016


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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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