Nacht Reworks

Nacht Reworks Cover

Now almost a year has passed since the release of his last solo-piano album. Since then Martin Kohlstedts courage to seek dialogues through music resulted in his “Nacht Reworks“ (2015) – eight very different pieces reimagening his record “Nacht“ by artists from Germany, Iceland, the UK and the US. Amongst them are resounding names like FM Belfast, Christian Löffler, Douglas Dare or hundreds as well as emerging talents like La Boum Fatale or Spearfisher. Some of their reworks seem like a sensitive commentary on the original, others are completely different ways of looking at the source material. And some have become the frame for joint projects, at eye level and dedicated to something new. “Nacht Reworks“ plays into Kohlstedts idea of a fluid body of work rather than searching for a so called perfect version of a composition and is a major step in his attempt to expand his already defined musical language.


Nacht Cover

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.

Tag Remixes


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.


Martin Kohlstedt_Tag_Cover

“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.

2015 was a wonderful year and a busy one as well. The Reworks project and the last part of my “Nacht”-Tour were a blast with more than 50 concerts in 5 countries, half of them sold out. I have to thank everyone who made this possible and every one of you who came to see me. You couldn’t have been a better audience and I’m looking forward to try exciting new ways of experiencing music together. Be prepared!

For now we will add a few concerts for regions we missed out in 2016, but i will mainly concentrate a bit on making music again. In the meantime you should have a look at this capturing version of LEH in the massive halls of the Petri Church Münster:

I was also able to talk with Szenestreifen about church concerts, music concepts and “Nacht Reworks” before the concert. In a sense it’s a nice wrap up and i shall leave you with that. For now. :)
– Martin

Martin Kohlstedt & Douglas Dare

In spring 2014, I was infected by the sound of Douglas Dare, so I decided to ask him out for an exciting experiment for my “Nacht Reworks”. We were able to develop EXA from an introvert piano piece into an intimate dialogue.

“Nacht Reworks” // Out Now!

nacht reworks cover

Good news! “Nacht Reworks” are now released on EDITION Kohlstedt and MTV IGGY premiered the official music video for the FM Belfast Rework of my piece GOL directed by the wonderful Martin Dziallas.

There’s another great piece of music, taken from my latest release “Nacht” reworked by Christian Löffler. In collaboration with the friends from Pfadfinderei, we released another fantastic video for ELL presented by GROOVE Mag.

There are 8 “Reworkers” I was fortunate to collaborate with. So when you order the Vinyl, the CD or the digital files here, you get the MP3 or WAV directly and an exclusive digital booklet with interviews, where I tried to have a look inside their work process and asked where and how they processed my piece of music.

“Nacht Reworks” on Spotify & iTunes


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RADEBEUL Landesbühnen – Großer Saal

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MANNHEIM Maifeld Derby

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BERGHAIDER SEE Artlake Festival

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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.

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