PHONIC CYCLE~: UNMAPPED RHYTHMS: Listening Beyond the Grid
[JULY 2025]
Phonic Cycle~ is an immersive monthly listening program hosted at TILT.
Each edition curates a focused exploration of sound by reconfiguring its structures and flows around a specific artist, album, or theme.
This July, the inaugural edition—Unmapped Rhythms—delves into the possibilities of rhythm that resist the homogenization of time.
Rhythm has long been understood as a sequence of units aligned to a temporal grid. But this fixed, repetitive framework is only one interpretation—one that doesn’t fully capture rhythm’s essence.
Unmapped Rhythms asks: what does rhythm sound like outside the grid? When it's neither aligned nor linear, rhythm emerges in uncertainty and disjunction, challenging our fixed perception of time. Instead of predictable patterns, we encounter fragmented temporalities and subtle deviations that shape new rhythmic forms.
Through the works of artists such as Autechre, SND, and Vladislav Delay, this program surveys how non-grid-based rhythmic sensibilities have been realized. These artists experiment with rhythmic elements that escape conventional structure—algorithmic glitches, temporal delays, and physical reverberations.
Here, rhythm is no longer reduced to repetition or regularity. Unmapped Rhythms offers a listening proposal: to rethink our sense of time and explore the potential of rhythm untethered from the grid.
UNMAPPED RHYTHMS #1 AGF - Greim EP [2017]
AGF (Antye Greie-Ripatti) is a German sound artist who works under the identity of poemproducer, composing sound through the intersections of language and rhythm, the body and technology.
Her work does not rely on beats; instead, she reshapes the very sense of rhythm through fragmented syllables, uneven rhythmic patterns, and deconstructed samples. Voice and language are her primary compositional materials—disassembled and rearranged using digital tools, they become both rhythmic units and audible expressions of politics.
In her 'Greim EP,' torn low frequencies and coarse, granular textures form beatless electronic compositions. Her sound work often integrates space, community, and environment, transforming listening into a dispersed and political act. AGF experiments with music as the sonification of language and the deconstruction of rhythm, unsettling the very structure of how we listen.
UNMAPPED RHYTHMS #2 Jan Jelinek - Loop-Finding-Jazz-Records [2001]
Berlin-based sound artist Jan Jelinek reconstructs rhythmic structures through sampling and collage techniques.
His 2001 release 'Loop-Finding-Jazz-Records' is a “repetition of memory,” scattering the rhythms of forgotten jazz. While the loops may sound like stable patterns, they never quite settle. By disassembling samples from jazz records down to the millisecond, Jelinek crafts a residual sense of rhythm—merging subtle sounds, organic textures, minimal sensuality, and a grounded groove.
Produced in a small Berlin apartment using the Ensoniq ASR-10 sampler, the album centers on themes of sonicrecollection and the fragmentation of time. It marked a turning point in his career and was reissued in 2017, introducing a new generation to his singular sound.
UNMAPPED RHYTHMS #3 Dakim - regos...of many moods [2020]
Dakim is a Detroit-born producer and sonic experimentalist who approaches the beat not as a fixed structure on a grid, but as something organic and amorphous.
Drawing from a background in marching band rhythm training, as well as jazz, dub, and post-Dilla boom-bap sensibilities, he uses tools like the MPC, SP-series samplers, and infinite delay loop techniques to create ever-shifting flows of rhythm—constantly forming and dissolving. For Dakim, rhythm is not something performed, but something responded to; tempo is not a number, but a felt sense of time.
His 'Regos' series most intuitively embodies this approach. It deconstructs the traditional boom-bap grid through structureless loops, loose drum swings, and unpredictable delay feedback. Dakim pursues rhythms that “can never be made again,” exploring the formlessness of rhythmic patterns grounded in improvisation and chance rather than standardized repetition. His music isn’t about the beat itself, but about movement—emotions in motion, breath, and the density of time. It blurs the grid and lets rhythmic patterns slip into the subconscious.
UNMAPPED RHYTHMS #4 [The User] - Symphony #2 For Dot Matrix Printers [1999]
[The User] is a Montreal-based sound and media duo composed of architect Thomas McIntosh and composer Emmanuel Madan. Their work continuously reinterprets the legacy of technology through sonic structures.
Their most well-known project, 'Symphony for Dot Matrix Printers', transforms obsolete printers into an orchestra, using the mechanical noise of the printers themselves as sources of rhythm and pattern. In 'Symphony #1,' a server conducts 14 dot matrix printers using text files as musical scores—each machine generates amplified mechanical noise that forms a structured sonic composition. In 'Symphony #2,' nothing is printed; instead, amplified hums from the machines create the track, which ends with flickering rhythms and a sudden silence triggered by a power cut.
The duo embraces “technostalgia” by repurposing outdated technologies as musical material. Through failure, repetition, and mechanical operation, they translate the legacy of machines into sensory structures. Rhythm emerges through the movement of print heads, the timing of server commands, and the sequencing of typing patterns—music here is less about sound and more about the order created by machine behavior.
[The User] subtly blurs the boundaries between music and technology, allowing rhythm and grid to be re-sensed through the logic of machines rather than that of humans.
UNMAPPED RHYTHMS #5 Grischa Lichtenberger - KAMILHAN, il y a péril en la demeure [2020]
Grischa Lichtenberger is a German artist who reconstructs rhythm not by destroying it, but by working within the limits of machines and the fractures of language.
Rejecting sequencer grids and forcibly altering global BPMs to overload software, his “drawing restraint” approach renders rhythm not as a sensory structure but as a trace of errors and breaks.
His landmark release 'KAMILHAN, il y a péril en la demeure' creates a “bent ballad” using computer-generated vocals, nonverbal utterances, distorted loops, and broken time signatures. Through failures of perception and transmission, he smuggles in a new mode of listening. For Lichtenberger, music is not a coordinated flow, but a juxtaposition of residual emotion and technological debris. Sounds are retrieved from archives and repeatedly reprocessed, built through improvisation and real-time feedback loops with intentional imperfections. More important than polished patterns is the listener’s skeptical attention—his short tracks aim less for immersion than for sudden moments of alertness.
Lichtenberger’s music is not about rhythm, but about the conditions for rhythm. Through formless structures and patternless repetitions, he explores a sonic philosophy of rhythm's limits.
UNMAPPED RHYTHMS #6 Rashad Becker - The Incident [2025]
Rashad Becker is a sound artist who treats sound as an auditory habitat for conscious entities to inhabit.
His 'Traditional Music of Notional Species' series, released on PAN, explores the internal order of structure without rhythm—through murmurs, glides, and tears that seem to organically proliferate within electronic circuits.
In his recent work The Incident, Becker sonifies the social dynamics of an abstract fictional world, using gamelan-inspired metallic percussion, indeterminate tonal movement, and intersecting repetitive motifs.
In his music, the grid is not a continuous structure but an illusion of order produced by contradictory repetitions. Patterns function more like ritualistic rhythms of listening than formal structures. Becker describes his work as a "sonic ecosystem under supervisory management," guiding the listener not through traditional composition but through a nonlinear topography. Fictional narratives emerge in the absence of grid and pattern, taking shape at the intersection of technical mastery and radical listening.
UNMAPPED RHYTHMS #7 Pan Sonic - Vakio [1998]
Pan Sonic, formed in Turku, Finland, was a duo that explored the space between mechanical precision and emotional noise. Comprising Mika Vainio and Ilpo Väisänen, they pursued a form of electronic music entirely without computers, constructing intensely dense soundscapes using hand-built circuits and modular synths.
Their debut album 'Vakio' uses low, heavy pulses, vacuum-like silence, and bursts of noise as the foundation of rhythm, producing not just an auditory experience but one that resonates physically through the listener's entire body. While Pan Sonic's rhythms are often grid-aligned, they deliberately incorporate emotional interference andimprovisational errors. Within these "failed repetitions" and "tremors," they uncover subtle rhythmic dislocations that disrupt even the listener’s inner tempo. In their later works, steady drum-machine-like beats are rare. Instead, tracks are centered on crackling voltage bursts and deep sub-bass frequencies that shake the floor. Sound here does not serve as a structural element—it behaves more like a force that gains weight as it moves through air.
Pan Sonic sought to communicate “feeling” through sound—and that feeling was always physical. They proved that electronic music can return to the body.
UNMAPPED RHYTHMS #8 Vladislav Delay - Anima [2001]
Finnish sound artist Sasu Ripatti, who also performs under names like Vladislav Delay, Luomo, and Uusitalo, has continually pushed the boundaries of rhythm, structure, and perception.
Drawing on his background as a drummer, he approaches rhythm not as strict meter but as a physical substance, building irregular rhythmic structures rooted in fatigue and skepticism toward traditional grids.
His album 'Anima' consists of 20-minute tracks blending repetition, noise, and subtle variations, illustrating how rhythm functions more like reverberation than rule. Ripatti “kills” the beat, leaving samples as traces of emotion, presenting music not as a finished product but as a sensory incompletion. His sound leans more toward intuition, failure, and primal essence than technical perfection, with rhythm acting as an unstable form resisting the homogenization of time.
UNMAPPED RHYTHMS #9 Bernard Parmegiani - De Natura Sonorum [1975]
Bernard Parmegiani was an electronic and musique concrète composer based at France’s GRM, renowned as a master of acousmatic music who treated rhythm not as structure but as variations of texture and form. His approach, rooted in mime, photomontage, and broadcast sound design, focused less on arranging sound linearly over time and more on shaping sound through materiality and motion.
His seminal work 'De Natura Sonorum'—which translates to 'On the Nature of Sounds'—classifies and intertwines natural and artificial sounds to create rhythms without rhythm and structures without structure. In Parmegiani’s work, rhythm is not a fixed rule but a metamorphosis. He uses repetition intentionally, but designs it to evolve continuously rather than remain static. Each sound emerges and fades like a living organism, and time becomes not a grid but a field of moving sound shapes.
His compositional method is deeply influenced by Gaston Bachelard’s philosophy of time and Clément Rosset’s L’anti-nature (anti-nature) perspective. De Natura Sonorum remains a seminal reference in sound design, continuing to influence contemporary electronic artists like Autechre today.
UNMAPPED RHYTHMS #10 Iannis Xenakis - Pléiades [1979]
Iannis Xenakis, an engineer and architect, transformed the languages of mathematics and architecture into musical composition.
Working on Le Corbusier’s architectural team, he developed a sensibility for designing music like blueprints and constructing it like physical structures. His approach to rhythm wasn’t based on repetition or beats but on mathematical models such as probability, statistics, group theory, set theory, and cellular automata.
In 'Metastaseis,' he used glissandi as geometric curves, translating visual patterns into auditory structures. In 'Pléiades,' he treated rhythm as a physical density outside traditional grids through complex arrangements of percussion instruments. Xenakis defined rhythm as a "cloud of sound," a distribution of density and probability, and believed each piece should become a new structure—a new existence.
Xenakis was more than just a disruptor of simple rhythms; he redefined the very conditions of the grid itself.
UNMAPPED RHYTHMS #11 Mark Fell - Multistability [2010]
Mark Fell, an electronic musician and installation artist from Sheffield, UK, is a composer who fundamentally questions the grid structure of rhythm itself.
His solo album 'Multistability' creates repeating yet irregular patterns based on micro-temporal intervals measured in milliseconds. In this work, he employs familiar FM synth presets from the Yamaha TX81Z—such as “LatelyBass”—but arranges them in ways completely detached from conventional musical grammar, producing patterns that disrupt our sense of time.
For Fell, rhythm is not a structure designed to evoke emotion. Rather, it is a device that subverts perception itself, with technology acting not merely as a tool but as an active creative partner. Using Max/MSP, he rejects timeline-based composition and invites listeners to shift their very sense of position within “unfamiliar time structures.”
'Multistability' proposes a “disturbed order” in opposition to Raster-Noton’s mathematical precision, approaching rhythm not as sound but as a mode of thought. The album vividly demonstrates how experimental music can deliver impact “without emotion,” realizing an aesthetic of gridless rhythm.
UNMAPPED RHYTHMS #12 Autechre - Draft 7.30 [2003]
Autechre, the British electronic duo of Sean Booth and Rob Brown, have long experimented with the limits of human perception through geometric sonic patterns and algorithmic composition. Rather than merely deconstructing the grid, they evolve rhythm itself like a living organism—reshaping our sense of time and hearing in the process.
Rather than fixing rhythm onto a temporal grid, they reconstruct it as an organic system of interacting events. 'Draft 7.30' marks a decisive turning point in this experimentation, combining meticulous manual programming with generative processes to establish new logics of time and motion within sound.
Rhythm ceases to be repetitive patterns and becomes the creases and folds of space-time—folding, twisting, and drifting. Tracks like 'Cfern' evoke elastic waveforms, 'IV VV IV VV VIII' distorts temporality, and 'Surripere' unsettles perception through flows of calm and turbulence.
'Draft 7.30' transforms the errors and residues of the grid into a singular order, expanding listening into an immersive experience of 'inhabiting rhythm.'
UNMAPPED RHYTHMS #13 Millie & Andrea - Drop The Vowels [2014]
Millie & Andrea is a collaborative project between Miles Whittaker (Demdike Stare) and Andy Stott, exploring playful experiments with identity and genre.
Focusing more on intuitive enjoyment than seriousness, their album 'Drop the Vowels' deconstructs and recombines diverse rhythmic languages including jungle, breakbeat, footwork, deep house, and noise. While maintaining Modern Love’s signature dark aesthetic, the album destabilizes the grid with fragmented textures like distorted drums, sizzling hi-hats, and quad bass. Tracks such as 'Stay Ugly' and 'Temper Tantrum' dismantle the excess of conventional rhythms while driving the listener’s body with infectious energy.
Through their experimentation, Millie & Andrea disrupt the authority of fixed rhythms, presenting deviation and distortion as a distinct rhythmic sense. Their sound rearranges ‘error’ and ‘departure,’ proving rhythm to be not a mechanical order but a field of free sensory experience.
UNMAPPED RHYTHMS #14 SND - Travelog [1999]
SND is an electronic music duo from Sheffield, composed of Mark Fell and Mat Steel, who since the late 1990s have proposed rhythm structures resisting the conventions of the grid through labels like Mille Plateaux and Raster-Noton.
Their EP 'Travelog' epitomizes early SND aesthetics, maintaining the physical sensation of house and techno while deliberately suppressing its beats and structures to the point of near “meaninglessness.” In this work, rhythm does not progress forward; rather, it lingers in a single state and mutates with an extremely slow sense of time. Subtly skewed beats without clear highlights, spaces left like silence, and intentionally arranged sounds that prevent bodily response create a unique sonic “travelogue.” This rhythm rejects the club context, tells no emotional story, and calls solely on the listener’s own internal sense of time.
'Travelog' is not a negation of repetition, but a redefinition of it. The EP sonically proves the paradox that “motion without movement” is possible.
UNMAPPED RHYTHMS #15 NHK yx Koyxen - Climb Downhill 2 [2022]
Kouhei Matsunaga, a Japanese artist with a background in architecture and visual arts, produces electronic music under the name NHK’Koyxen that breaks down fixed notions of genre and rhythm.
For him, techno is not a genre to be confined within boundaries, but a field for experimenting with indeterminacy and deconstruction — a platform for the rupture of rhythm. His 2023 work 'Climb Downhill 2' crystallizes this aesthetic, composed of fractured breaks, twisted lo-fi grooves, and malformed patterns. The album lurches forward, sometimes faltering or spinning askew. As the grid becomes more disrupted, the rhythm paradoxically becomes clearer to the ear, guiding the listener to recalibrate their senses.
NHK’Koyxen’s music does not invite dancing so much as it compels questioning the very structure of rhythm. It avoids predictability, stimulates the nerves, yet never descends into confusion. His grids slip, buckle, and above all, endlessly recombine.
UNMAPPED RHYTHMS #16 Eli Keszler - Stadium [2018]
Eli Keszler is a drummer, composer, and installation artist who acts as a sound architect reorganizing rhythm and space. His music captures the heterogeneous rhythms of the city and transforms them into artistic order.
'Stadium' is an album that embodies the congestion, density, and unpredictability he encountered after moving to Manhattan, New York. The drums function not as traditional rhythmic instruments but as tools that fill space and create the texture of time. Percussion is processed through sensory percussion software, dissolving the boundaries between digital and analog, while field recordings compress cross-sections of space to form acoustic strata.
Keszler’s rhythms are not fixed tempos but vectors that glide and drift through space. His compositions are attempts to find order within imbalance rather than precise beats. Rhythm, for him, is ultimately a wave of space, controlled ‘without a grid.’
UNMAPPED RHYTHMS #17 Burnt Friedman & Jaki Liebezeit - Secret Rhythms 1
'Secret Rhythms' series, a collaboration between legendary drummer Jaki Liebezeit (CAN) and electronic musician Burnt Friedman, begins from a fundamental inquiry into rhythm itself.
They move beyond the Western 4/4 grid structure to approach rhythm as a formula for natural movement. Liebezeit’s “drum code” is a cyclical rhythm theory based on binary code and natural laws, while Friedman unpacks this through various sequences and sonic experiments. Their rhythms are non-linear, possessing an open structure that can branch into different densities and patterns at any moment.
'Secret Rhythms 1' draws on the grammars of dub, jazz, glitch, and minimal electronic music, focusing not on the ‘form’ of rhythm but on the ‘movement’ itself. It flows without tempo and repeats without bars. This music treats rhythm not as a means but as an object in its own right.
UNMAPPED RHYTHMS #18 Ondo Fudd - Eyes Glide Through The Oxide [2019]
Joseph Richmond Seaton, better known as Call Super, explores more organic and abstract rhythmic experiments under his other alias, Ondo Fudd.
'Eyes Glide Through the Oxide,' released on The Trilogy Tapes, focuses less on precise grooves and more on flowing rhythms and textures. Ondo Fudd’s music borrows from the grammar of house and electro but distorts and scatters it rather than strictly adhering to it. Tactile beats, shimmering synths, and tangled melodies ripple like waves within an organic movement rather than a rigid structure. He balances between ‘tightness’ and ‘chaos,’ layering unpredictable textures over an otherwise predictable grid.
Ondo Fudd’s rhythms aren’t fixed forms but fluid states, where the flow itself becomes the structure.
UNMAPPED RHYTHMS #19 Frank Bretschneider - Rhythm [2007]
Frank Bretschneider is a German electronic musician and visual artist who developed his unique language through 'learning by doing' rather than traditional musical training. His music is rooted in digital minimalism, precise rhythmic structures, and the tension between mechanical order and human irregularity.
His seminal work 'Rhythm' centers on the concept of 'rhythm itself.' Moving away from traditional loop-based programming, he approaches rhythm compositionally as raw material, breaking down the boundaries of segmented time. In this album, rhythm is no longer a simple repetitive framework but treated like a complex, sometimes flawed organism. Especially in 'Rhythm,' Bretschneider minimizes predictability through short tracks that change every minute and finely tuned drum programming, emphasizing irregularity and anomalous flow within the patterns. Instead of relying on the comfort of loops, fades, and transitions, he pushes rhythmic boundaries using cuts, dead notes, and odd measures.
Bretschneider’s rhythms are electronic but never mechanical, orderly yet inherently chaotic. His experimentation with 'rhythmic displacement' in grid-based music demonstrates how mechanical music of the digital age can be reinterpreted with a distinctly human sensibility.
UNMAPPED RHYTHMS #20 Beatrice Dillon - Workaround [2020]
Beatrice Dillon, a producer from London, experiments by recalibrating the rhythmic “grid” without breaking it down completely.
Her debut album 'Workaround' locks all tracks at 150 BPM and explores a unique temporal structure centered around rhythm. Through meticulously restrained sounds, a delay-free use of space, and exceptional instrument sampling—including tabla, cello, pedal steel guitar, and saxophone—she layers organic textures over computer-based frameworks. Dillon’s music borrows the emptiness of dub while rejecting excessive reverb, focusing instead on structural rhythmic experimentation through dry, clear tones. Repeating patterns are carefully deconstructed, and silence functions as part of the rhythm.
'Workaround' invites listeners to perceive fractures in time and space, standing out as a rare example of electronic music that achieves weightless fluidity even within the grid.
UNMAPPED RHYTHMS #21 Thomas Brinkmann - Retrospektiv [2017]
Thomas Brinkmann, a German sound artist, pushes the experimental spirit of minimal techno to aesthetic extremes. With a background in sculpture, aesthetics, and machine theory, his music goes beyond simple repetition—treating the loop itself as a philosophical structure.
Using modified tonearm turntables, damaged vinyl, and visual pattern experimentation, Brinkmann deconstructs and reassembles the standardized grid structure. 'Retrospektiv,' a collection spanning 20 years of work, distills his various experiments, navigating between techno and the experimental to fully expose the interplay of repetition and difference. Fixed BPMs and pitches, alongside unexpected structural shifts, "scar" the rhythm—restructuring the listener’s experience of time.
Through repetition, Brinkmann designs processes of "learning and pain," revealing human imperfection through rhythm. For him, the loop is not just a pattern—it is a true exercise in perception.
UNMAPPED RHYTHMS #22 D/P/I - Composer [2016]
His final D/P/I album, 'Composer,' centers around the idea of rhythm forming without direct intervention from the composer. Controlled via MIDI knobs, built on repetitive patterns, and marked by subtle fluctuations resembling human error, the album constructs a new rhythmic order outside the grid. Each track functions as a micro-composition, evolving autonomously through nonlinear structures and traces of technical failure.
D/P/I’s approach to rhythm resists traditional electronic music conventions while situating itself within a lineage of rhythm theorists like Steve Reich and Mark Fell. 'Composer' unfolds as an accumulation of abstract patterns that defy genre, continually disrupting the listener’s sense of pattern and space—ultimately forming a sound structure where fragmentation and order coexist.
UNMAPPED RHYTHMS #23 Jlin - Dark Energy [2015]
Jlin is a composer from Indiana who deconstructs the intense rhythmic language of Chicago footwork and reassembles it into a deeply personal internal architecture. Her seminal album 'Dark Energy' is composed entirely of original sounds—eschewing loops and samples—and refuses predictable grids, transforming dissonance and imbalance into a new sensory order.
Her rhythms emerge not from repetition, but from friction—generated by imperfection, tension, and deliberate error. Triplet-based polymetric structures and the invisible layers of digital synthesis push beyond conventional beat arrangement into an ontological exploration of rhythm as something composed from nothingness.
For Jlin, music is not a matter of technique but of attitude. Rather than follow the imposed logic of the grid, she shapes her sound according to an inner sense of time that is uniquely her own. 'Dark Energy' is both an act of imagining rhythm beyond the grid and a practice of mapping emotion through rhythm.
UNMAPPED RHYTHMS #24 AOKI takamsa - RV8 [2013]
AOKI Takamasa is an electronic musician from Osaka who sculpts sound and builds rhythm like a tactile architecture. Rather than composing in the traditional sense, he works with flow—designing rhythmic circuits that the listener’s body responds to instinctively.
His seminal work 'RV8' constructs a sensory topography where variation and exception continually branch out from repetition, using fractal rhythm structures. Even the track titles are rendered as numbers, aiming to liberate rhythm from meaning and provoke pre-cognitive, bodily reactions.
Aoki’s rhythms are where precision meets instability—organic patterns that move beyond the confines of the grid. In this way, his practice represents one of the clearest answers to the questions posed by Unmapped Rhythms: What is rhythm, really, when freed from its maps?
UNMAPPED RHYTHMS #25 Nicola Ratti - Pressure Loss [2016]
Nicola Ratti is a Milan-based sound artist who merges architectural sensibilities with analog electronic sound, organizing rhythm as a form of structural event. Through repetition and subtle variation, his work creates complex rhythmic ensembles from the sparsest of elements.
His acclaimed album 'Pressure Loss' is a rhythmic experiment built with only eight LFOs and a set of filters—an exploration of extreme limitation. Each track maintains its individuality while contributing to an organic, continuous flow, expanding simple sonic structures into a vast sense of spatial presence. For Ratti, rhythm is not merely an aspect of sound design but a dynamic system that generates space itself.
His rhythms do not unfold over predictable grids. Instead, he constructs non-gridded structures that draw the listener’s senses into the micro-tensions and temporal displacements that arise from minimal vibrations. For Ratti, rhythm is not a composition for the ear, but a “spatial event” that slowly emerges across time.
by FNST_SESSION
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| UNMAPPED RHYTHMS #24 AOKI takamsa - RV8 [2013] (1) | 2025.06.08 |
| UNMAPPED RHYTHMS #23 Jlin - Dark Energy [2015] (1) | 2025.06.08 |
| UNMAPPED RHYTHMS #22 D/P/I - Composer [2016] (0) | 2025.06.08 |