Martin Kohlstedt’s second album “Nacht“ (2014) directly refers to its predecessor, yet it reverses his perspectives, grabbing and pointing them inward. Preceded by playfully asked questions in “Tag“ (2012), nine monologues are now to follow with utter consistency. These reduced piano pieces speak with a kind of suppressed restlessness while keeping enough distance from recklessness. Within them, one can find Kohlstedt rigorously working on himself; repetition and rhythmic transformations develop an inward-pointing momentum. “Nacht“ is able to pull itself out of this emerging undertow time and time again, even during its most awkward moments. Subconsciously one would like to believe in this, latch oneself onto the emerging structure – even as the piece is being constructed, stroke for stroke. But to arrive at one’s personal destination, that is just a utopia in the eyes of Martin Kohlstedt. “Nacht“, translated ‘Night’, tells a tale of a search for this suitable location. That’s why it might be hard to grasp what it’s getting after – but Kohlstedt unconditionally confides in his listeners. It just doesn’t get more personal than that with modern compositions.
Shortly after the release of “Tag”, people who listened to the music came back to Martin Kohlstedt. Not only was there the will to take from his play, but also the will to give back, by adding something to it. First samples and remixes were handed in, without even being asked for. Experiencing so much response, Kohlstedt found sense in taking the album to the next level, and started to actively search for people to work with. His idea was not to create something completely new, but to add some new features, some unknown aspects. The perspective changed, and with this changing the songs got a new, different strength and power. The kindness one can find in the originals is picked up in the remixes. The electronic adaptions take extraordinarily much material of Kohlstedts compositions. They stroke the tune more than they touch them and you feel the respect for Kohlstedts work, when you listen to the electronic beats.
“Tag” is the German equivalent for day and Martin Kohlstedts first personal sanctuary. Every single piano piece was inspired by meaningful, decisive and fortunate events in his life, which he was not able to mantel and thus unfolded in music. Daily routine tends to conceal reality, so that we remain capable of acting, which in turn promotes our music to be analytically. The day resembles a movie traversed by unreflected emotions and reactions, most of the time. Oddly, only the night is able to reveal the complexities of thought that try to haunt us every day. The shell of every person falls in a different way, in Martins case with music.
Today happens to be the 88th day of the year and Nils Frahm thought it was a splendid opportunity to celebrate »Piano Day«.
I liked the idea of this holiday so much that i decided to give a little present to all those people that support me and my music — be it on Facebook or elsewhere, by purchasing a CD, LP or concert tickets from my shop or subscribing to my newsletter: A full-length video of my concert in the dome of the ZKM (Zentrum für Kunst und Medientechnologie Karlsruhe) during the ARD-Hörspieltag on the last tour. Brought to you with the kind support of SWR Fernsehen.
And I can only repeat it again and again:
Thank you a lot for your tremendous support and love.
I am at the mid-point of presenting my album “Nacht” to you guys all over germany and europe. So far it was a blast with almost 20 sold out shows and I would like cheer for everyone who came to see me or supported us in giving birth to this amazing project. Thank you!
After some short quiet time I will hit the road again, though. We are announcing new dates for April and May every day now – have a look at the LIVE dates.
This time I will try to burst my piano a little more open. What that means? Let’s find out!
Today we are finally releasing my new album “Nacht” and the ticket system for the release concerts is online now.
The concerts in Weimar, Leipzig and Leinefelde are special, since it is always great to face oneself in your very own home. To share these evenings with you, the guys from affilitix helped me to offer you tickets for these shows without any additional ticketing fees.There are also bundles with the new album “Nacht”. So you can be sure to take a copy home with you that night!
HANNOVER Freizeitheim Linden-Limmer
HALLE Charles Bronson
ROSTOCK Peter Weiss Haus
NEUKIRCHEN Skandaløs Festival
OLDENBURG Freifeld Festival
HAMBURG Reeperbahn Festival
PORTA WESTFALICA Bergwerk Kleinenbremen
Intuitively Martin Kohlstedt feels his way through this body of wood, felt hammers and steel strings. The young composer, who grew up in the forests of Thuringia, doesn’t just put on an anonymous fingerplay – he perpetually opens himself up with each and every moment, with every stroke of the keys. An attempt to create something close and personal – beyond sophisticated classics or artificial pathos. Kohlstedt isn’t reenacting a play, he’s holding a musical conversation with his instruments. At times he might even lose his self-control and get carried away. Particularly in a concert setting, one might take note of this kind of aggressive straightforwardness, perhaps making him seem vulnerable. If you were standing off to the side, you could even find it cheesy. Nevertheless, the argumentation between character and piece is so fierce, that you just can’t get around it. Consider yourself lucky under these circumstances – because that’s exactly what Martin Kohlstedt needs, this soundbox, his audience.
Besides solo performances, he periodically joins the electronica bands Marbert Rocel and Karocel and melodizes the motion pictures of filmmakers from around the world. During fall 2014 and spring 2015 Martin Kohlstedt will be playing live in more than 30 cities in Germany and Switzerland.