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.
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.
It is almost the end of summer, fall is at the doorstep and slowly but surely I have to admit to myself that my once planned peaceful year of contemplation has developed into yet another crazy concert carusel, even spinning far beyond Germanys borders. But the many new mentalities, people and places have one effect that I wouldn’t want to miss: I’m currently, permanently and happily oversupplied with inspiration.
Therefore I find it almost inevatible to continue collecting impressions and play out new ideas at selected concerts in order to build up to a large save point next year (hint hint..). With the pieces developed so far I dare to try new compositions, to let them influence the current live shows, respond with the familiar piano pieces and everyone in the audience, with you. I can’t get enough of it: composing my thoughts differently every time, seeing new ideas grow every evening. And i’d love to have you there! Have a look at our new tourdates and come by!
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 as well as a few summer festivals, 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. 🙂
ST. PETERSBURG (RU) GAMMA Festival
REUTLINGEN Burning Eagle Festival
HOHENLOCKSTEDT Habitat Festival
13/08/16 SOLD OUT
HALDERN Haldern Pop Festival
BERGHAIDER SEE Artlake Festival
NEUSTADT Schloss Landestrost
SANTIAGO DE COMPOSTELA (ES)
BREMEN Außerhalb (no pre-sale)
DORTMUND Oma Doris
HANNOVER Feinkost Lampe
JEKATERINBURG (RU) Lynch
ST. VEIT (AT) KidM Kultur
WIEN (AT) Viennale
01/12/16 SOLD OUT
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