marat ingeldeev

Old friends, future friends, see you next week at Borealis!

Now available online. I've really enjoyed chatting with Maia, and I hope you enjoy reading what she's got to say! www.positionen.berlin/post/maia-ur...

What’s the most uncanny work of art (music, film, book, etc.) you’ve encountered recently — eerie, strange, unsettling or strangely familiar?

One of the most bizzare concerts I've ever attended :)

Playlist zu Ingeldeevs Artikel "Die britische Schule des Emotionalismus und Metamodernismus", Positionenheft #146 - YouTube

www.youtube.com/playlist?lis...

Plus, a YouTube playlist featuring music by Jennifer Walshe, Matthew Shlomowitz, Alex Paxton, Simon Steen-Andersen, Cassandra Miller, Oliver Leith, Øyvind Torvund, Natacha Diels, Laurence Crane, Maddie Ashman, Neil Luck, Bastard Assignments, Ben Nobuto, Matthew Grouse.

My final foray into the metamodern syndrome comes in POSITIONEN 146, where I talk about the 'British School of Emotionalism and Metamodernism' (BSEM). Available now in German via POSITIONEN 146. The English version will be published online in a few months.

Morton Feldman Trios box set 1    Why Patterns?      (1978)       29:55 Taylor MacLennan, flutes    Siwan Rhys, piano    George Barton, glockenspiel   2   Crippled Symmetry    (1983)      90:47 Taylor MacLennan, flute & bass ...

Read the interview here:
www.anothertimbre.com/products/mor...

My modest contribution to Feldman's centenary is an interview I prepared with incredible GBSR duo and Taylor Maclennan about the equally incredible 'Trios' box set, hot off the press from Another Timbre. This hauntingly mesmerising music has utterly besotted me.

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.

An Explosive Legacy Huddersfield Contemporary Music Festival—or HCMF for short—is in full swing, celebrating its 48th edition with performances, workshops, installations and more, all against the backdrop of mounting eco...

Fun times at my first-ever @hcmfuk.bsky.social 2025. My piece for @vanmusicmag.bsky.social is out now, with pretty mind-boggling insights from Graham McKenzie and a few unvarnished concert takes. This one's for lovers of numbers and sceptics of the UK’s arts funding. van-magazine.com/mag/huddersf...

I enjoyed my conversation with sound artist Maia Urstad immensely after discovering her work at the Darmstädter Ferienkurse earlier this year. German readers can find our conversation in POSITIONEN issue 145. English readers will have to wait a few months before it appears online

Happy, Sad and Everything In Between The Metamodern Songs of Francesca Fargion

An essay from what I now call my prime metamodern phase — on Francesca Fargion’s music, its oscillations, naivety, Romanticism, parental relationships and the evanescent, banal everyday. Have a read! maratology.substack.com/p/happy-sad-...

"Garland showed exactly what the UK new music scene could achieve if funding matched ambition." My review of Oliver Leith's Garland is out via @bachtrack.com.
bachtrack.com/review-leith...

Situations for Distracted Listening Every time cultural organizers huddle to pick a festival theme, their brainstorming heat surely counts as a modest contribution to global warming. In today’s attention economy—where information is ove...

My Darmstadt 25 review is in @vanmusicmag.bsky.social. 'Situations' are audience agency, censorship, David Tudor, distracted listening, Hannes Seidl, healing sounds, hybrid formats, immediacy, instagrammable art, Maryanne Amacher, neoliberalism, spatial arrangements van-magazine.com/mag/darmstad...

The Dissolving of the Line Marat Ingeldeev reviews Musik Installationen Nürnberg 2025.

Marat Ingeldeev reports from Musik Installationen Nürnberg, where he eats a very good shawarma, gets pedalled around a lake in a hot pink flamingo pedalo by two retirees, and ponders nonlinearity — and much more at @vanmusicmag.bsky.social

van-magazine.com/mag/musik-in...

Great conversation, Marianna — just like your book, which I’ve been recommending a lot lately. Also nice to see @annakornbluh.bsky.social's ideas included – so much potential there!

Unnatural Invisibility Ahead of a new project premiering at the Barbican Centre in early April, the vocalist and movement artist speaks to Marat Ingeldeev about Julius Eastman.

It was a pleasure to chat with Elaine Mitchener about Julius Eastman, art activism, that salty Cage incident, and decolonising music canons ahead of "Moving Eastman" at the Barbican. Read our conversation in @vanmusicmag.bsky.social
van-magazine.com/mag/julius-e...

With Another Timbre's new CDs imminent, I invite you to read my interview with Bryn Harrison. We discussed 'Towards a slowing of the past', disorientation in music, immersive listening and the most important lesson he learnt from pianist @philipthomas.bsky.social.
anothertimbre.com/harrisontowa...

Failing better, sounding again: Beckett and Feldman at the Southbank Beckett’s theatrical precision and Feldman’s fragile soundscapes cross paths at the Southbank Centre, creating a fleeting beauty in a profound artistic dialogue.

'We simply need more quirky curation-as-art and art-as-curation.' My review of last Friday's highly compelling 'Refracted Sound' event at Southbank is now available via @bachtrack.com.
bachtrack.com/review-refra...

Threatening the Composer Once again, I spot the lively gait of Matthew Shlomowitz walking towards me on a busy London road. Over the past year, I’ve come to know him better thanks to several shared projects. Behind the compos...

Back in May, via @vanmusicmag.bsky.social, I had a lovely chat with @mshlom.bsky.social about co-composition, the role of artistic voice, and his allergic reaction to Romanticism and its values. Enjoy!
van-magazine.com/mag/matthew-...