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marat ingeldeev

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Never could I imagine just how joyful and honoured, a bit stressed but mostly energised, I would feel to be guest editing Positionen 147 — a wonderful issue that is out now. Fasten your seatbelts. It's a chunky one!

Thrilled to have brought together 'Weird Times, Uncanny Aesthetics' by Christine Dysers (@christinehelenrose), 'Curating Contemporaneity' by Ed McKeon (@edwardj.mckeon1), 'The Phantom Limb' by Xenia Benivolski (@xeniab.vlsk), 'Thinking alongside Wadada Leo Smith: Creative Music Theory' by Malte Kobel and a text from yours truly, 'The Cost of Criticism: Reflections from Borealis 2026'. By examining the uncanny and the contemporary, unthinking, dis- and re-membering the world, while staying faithfully materialist, these texts offer some considerations on the eternal 'what is to be done?'

The issue also features a Q&A with Beni Brachtel (@benibrachtel) by Kalas Liebfried (@kalasliebfried) and a portrait interview with Simon Steen-Andersen (@simon_steenandersen) by Henrik Marstal (@marstalifolketinget). PLUS a collection of uncanny music, films, texts and images crowdsourced by the community. PLUS plenty of album, concert and festival reviews.

My heartfelt gratitude goes to editors Katharina Duda and Sebastian Hanusa (@hanusasebastian) for pushing the texts into their best shapes, and to Bastian Zimmermann (@bastian.zimmermann) for his unflinching trust and the 24/7 helpline support.

English versions of the texts will appear online in the coming months.

Support Positionen by purchasing a copy or subscribing to the mag. by @mrttrml

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2 months ago

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Both emotional and uncanny, sincere yet ironic – contemporary British-based composers are pioneering a new aesthetic: musical metamodernism.
The British School of emotionalism and metamodernism, Marat Ingeldeev

First published in German by Positionen 1/2026 Published in English on Eurozine, 14 April 2026

© Marat Ingeldeev / Positionen / Eurozine by @mrttrml

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3 months ago

Feeling both stimulated and relaxed after a magnificent few days in Bergen for @borealisfestival. The amount of care and thoughtfulness that goes into this gathering is truly remarkable. It was also a joy to be part of the international guest programme—where we listened and probed, laughed and prodded. Many thanks to the whole festival team!

A longer reflection will be out in the upcoming May issue of @positionenmusik—watch this space.
Photo 2 by Miriam Levi. taken in Bergen, Norway by @mrttrml

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4 months ago

Is your music rich in affect and faintly uncanny? Does it knowingly embrace sincerity while never fully abandoning irony? Is it documentary and autobiographical? Playful and self-reflexive? I'm afraid to disappoint you: these might be early signs of musical metamodernism.

My final foray into the metamodern syndrome comes in POSITIONEN 146, where I talk about the 'British School of Emotionalism and Metamodernism' (BSEM). It's a half-joking, half-serious grouping, reflecting the post-truth era via the primacy of felt experience and restlessly oscillating between high and low, melancholic and playful, naïve and knowing. Two case studies, the works of @haigher and @fargionfrancesca, underpin the anatomical observations whose roots go back to the RMA Conference in 2025 and beyond.

Plus, a YouTube playlist (fig. 5) featuring music by @milker_corporation, @mshlomowitz, @dreammmusics, @simon_steenandersen, Cassandra Miller, @oliver_leith, @oyvindtorvund, @natachadiels, @crane.laurence, @maddieashman, @arcoarcoarcoarco, @bastard_assignments, @__nobuto__, @matthewgrouse.

German version available in print
English version available online at eurozine.com
Picture 4 by Moritz Küstner. taken in London, United Kingdom by @mrttrml

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5 months ago

Happy 100, Morton Feldman! Little music reaches my soul as deeply as yours: austere, devoted, flickering endlessly on the horizon, like ever-elusive hope itself without which one is doomed.

My modest contribution to Feldman's centenary is an interview I prepared with the incredible musicians, @gbsrduo and @taylormaclennan1, about the equally incredible 'Trios' box set, hot off the press from @anothertimbre (link in bio). This hauntingly mesmerising music has utterly besotted me over the past few weeks. taken in London, United Kingdom by @mrttrml

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6 months ago

A delightful wackiness at this year's @minu_festival, for I finally witnessed it with my own flesh, ears and eyes. Thanks for the invitation—Copenhagen is such a vibe. taken in Copenhagen, Dennmark by @mrttrml

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8 months ago

Fun times at my first-ever @hcmfuk 2025. My piece for @vanmusicmagazine is out now (link in bio), with pretty mind-boggling insights from chief executive and artistic director @gmckenziehondoc and a few unvarnished concert takes. This one's for lovers of numbers and sceptics of the UK’s arts funding. taken in Huddersfield, UK by @mrttrml

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8 months ago

I enjoyed my conversation with sound artist Maia Urstad immensely after discovering her work at the Darmstädter Ferienkurse earlier this year. As well as discussing her long-standing relationship with radio, we touched on several important questions, including:

+ the trust between an artist and an institution
+ the differences between preparing a work in the art world and in the music world
+ the challenges of “selling” an artwork before it is ready
+ the ways curators shape the final form of a piece

German version available in print
English version available online via positionen.berlin
Picture 2 and 4 by @lempinet taken in Darmstadt, Germany by @mrttrml

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8 months ago

Had a fantastically inspiring/brain-n-body-tiring time at @imd_darmstadt 2025 as press! Loads of music, thoughts and conversations to take home—it was also great to see so many friends from all over.

Over the past two weeks, I've been processing this summer's hybrid format 'Situations' and voilà: new chunky review out via @vanmusicmagazine (link in bio).

'Situations' are audience agency, censorship, David Tudor, distracted listening, Hannes Seidl, healing sounds, hybrid formats, immediacy, instagrammable art, Maryanne Amacher, neoliberalism, spatial arrangements.

Featuring:
@imd_darmstadt @deleuze.guattari @tornasolunariz_ada @hannes_seidl_ @blldtz Matt Rogalsky taken in Darmstadt, Germany by @mrttrml

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a year ago

Tired, but utterly exhilarated, I wave goodbye to @musik_installationen_nuernberg.

My report from the festival is now online at @vanmusicmagazine (link in bio). It features:
• the tangled story of Nuremberg and conversations with the festival’s curators @m_a_r_e_s_e, @bastian.zimmermann and @laure.m.hiendl
• a surreal flamingo pedalo ride with a pair of retirees and drifting reflections on music, space and time
• reviews of performances by @bastard_assignments, @anke_eckardt, @mosnave, @dorisdziersk, Catherine Lamb and @amir.shpilman

Thanks to the festival team for the invitation—support MIN by going next time.
Thanks to VAN for the platform—support them by subscribing.

Photo from the conference by David Häuser. taken in Nürnberg, Germany by @mrttrml

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a year ago