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Martin Kohlstedt, born in 1988, has been working for years on music that is difficult to classify. It moves between ambient, score design and cutting-edge electronic, but always remains incredibly organic and multi-layered. On what is now his sixth album FELD, the trained pianist incorporates the improvisational elements of his live concerts and draws on various influences, ranging from the great Ryuichi Sakamoto to East German bands such as Pantha Rhei and City.
Earlier collaborations with Sudan Archives or Robag Wrume have also left their mark on the album. Kohlstedt, who works in Weimar, was a member of various band projects in the vicinity of the Erfurt train port and, in addition to his solo projects, devotes himself to film and radio play music. You can hear that too, there could be a story to every track. In addition to sound miniatures that are reminiscent of children’s songs, Kohlstedt has recently also opened one or the other door to the dance floor, but immediately weakens the exuberance with the next piece.
On FELD he implements the classic album concept of the old school, because the sequence of the twelve pieces, their dramaturgy, are well thought out and coherent. One almost wants to drop the sleazy term “dream journey”, but it doesn’t have to go that far, because someone is at work here who pulls the ripcord before the music drifts into kitschy. Incidentally, this is largely due to the use of a Fender Rhodes piano, which gives the whole thing something earthy and edgy. FELD creates moments of retreat without being esoteric.
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