The neoclassical phenomenon is becoming more and more melancholic.
Martin Kohlstedt becomes more wistful. The composer and musician from Weimar easily fills large venues with his sound journeys, which he likes to improvise out of nowhere on piano, keyboards and samplers. Live, they always increase from tentatively quiet to overwhelmingly grandiose, more and more sound levels, melodic arcs and rhythm patterns are layered on top of each other until a hypnotic pull is created between the dance floor and the film soundtrack.
Kohlstedt also improvises in the studio, but he doesn’t have to be so gimmicky, but can delve deeper into nuances and milder moods. There are still no vocals on his seventh album KLUFT, but more and more pieces lean towards melancholy, forgo ecstasy, and sometimes Kohlstedt even works with field recordings.
Not just in “MEM DEZC62539321″ or “PLU DEZC62539316″ Kohlstedt observes, almost astonished, a few electronically generated sounds, sometimes leaving them alone in the room for seconds and listening to their effect in a relaxed manner. There are still tracks like “RAH DEZC62536474″, which become powerful, but the trend is unmistakable: Martin Kohlstedt is becoming more and more melancholic.
