TILTxFNST

2025.07.22 TUE 19:40 (화요일 저녁 7시 40분)

Drift Mode: Infrathin Reveries
— 감각과 부재 사이

“가능성이 되어감을 포함할 때, 그 하나에서 
다른 하나로의 전이는 인프라신에서 일어난다.”
— 마르셀 뒤샹 (Marcel Duchamp)의 Notes on the Inframince 중 발쵀- 

현대 감각은 점점 더 크기와 속도, 명료함만이 강조되는 시대로 정의되기를 요구받습니다. 그러나 어떤 감각 혹은 어떤 감정은 그와 반대의 방식으로만 드러납니다.

명명되지 않은 채 감지되는 것.
말로 옮겨지지 않는 미세한 차이.

가장 본질적인 물음은 그 경계에서 비롯됩니다.
어쩌면, 그 경계는 오늘날 가장 급진적인 사유의 지점일지 모릅니다.

마르셀 뒤샹이 말한 ‘인프라신(Infrathin)’은 감각과 부재 사이, 거의 감지되지 않는 경계선을 말합니다.

누군가가 떠난 방의 체온, 
닫힌 문과 열려 있던 창 사이의 온도, 
또는 기억 속에만 남아 있는 어떤 장면의 결. 
이는 우리가 쉽게 지나치는 감각의 경계입니다.

이번 Drift Mode는 바로 그 경계에서의 청취를 얘기합니다. 감각이 ‘포착하려다 놓치는’ 순간을 주목하며, 사물과 정동 사이의 간극, 언어 이전의 직관, 감각이 완전히 사라지기 직전의 진동에 머뭅니다.

이 지점에서 음악은 더 이상 기호가 아닌, 감각의 조건으로 작동합니다. 감정이나 의미 어느 것도 직접적으로 도출되지 않으며, 감각은 ‘있었던 것’과 ‘사라진 것’ 사이의 틈을 따라 사유의 미세한 층위로 닿아갑니다.

‘Infrathin Reveries’는 감각의 본질에 대한 질문입니다. 어쩌면 우리가 지금 다루어야 할 감각은, 감지할 수 없는 그것인지도 모릅니다.

큐레이션된 음악은 이 감각을 불러오는 하나의 조건으로 작동합니다. 그리고 Tilt는 청취자가 그 문턱에서 머무는 경험을 할 수 있도록 제안합니다.

1. Pita - Fvo [2016]
2. Chra - Crowded Dream [2017]
3. LCC - Aj [2017]
4. Laurel Halo, Lucy Railton & James Underwood - Reading the Air [2023]
5. Stephen O'Malley & Anthony Pateras - déjà su [2023]
6. Roly Poter - Ix [2011]
7. Kyle Bobby Dunn - An Evening With Dusty [2021]
8. Else Marie Pade & Jacob Kirkegaard - Nimbostratus [2014]
9. Suum Cuique - Deus Ex Machina [2012]
10. Lisa Lerkenfeldt - In Her Hair [2020]
11. Peter Rehberg - ML3 [2008]

"The possible implying becoming — the passage from one to the other takes place in the inframince."

- Marcel Duchamp, Notes on the Inframince -

Our modern sensibilities are increasingly defined by an era that prizes only scale, speed, and clarity. Yet, certain sensations, certain feelings, reveal themselves only in the opposite manner.

That which is sensed but not named.

The subtle difference that escapes language.

The most essential questions arise from this threshold.
Perhaps this threshold is the most radical site of contemplation today.

Marcel Duchamp's 'infrathin' refers to the barely perceptible boundary between presence and absence.

The warmth of a room just after someone has departed,

the difference in temperature between a closed door and an open window,
or the texture of a scene that exists only in memory.
These are the thresholds of sensation we so easily overlook.

This iteration of Drift Mode is about listening at this very threshold. It hones in on the moment our senses 'attempt to grasp, only to miss,' dwelling in the gap between objects and affect, in pre-linguistic intuition, and in the vibration of a sensation right before it vanishes completely.

At this point, music no longer operates as a symbol but as a condition for sensation. Neither emotion nor meaning is directly deduced; instead, sensation traces the fissure between 'what was' and 'what has vanished,' reaching into the subtle strata of thought.

Infrathin Reveries is an inquiry into the essence of sensation. Perhaps the very sensations we must now engage with are those that are, by their nature, imperceptible.

2025.07.24 THU 20:00 (목요일 저녁 8시)

Radio Endless : 
Like Everything Being Seen Has a Bow
— 보이는 모든 것에 무지개가 있는 것처럼

안녕하세요. 작가 차지량입니다. ‘보이는 모든 것에 무지개가 있는 것처럼’은 꿈/깸 사이의 다층적인 시공간으로 향하는 주문이자 다짐의 문장입니다. 저는 이 여정에서 마주한 존재들과 함께 즉흥 연주를 하며, 풍경을 펼쳐 보는 시간을 가졌습니다. TILT의 제안으로 그 여정을 다시 떠올리며, 소리들을 모아보았습니다. 

제가 가장 좋아하는 일은 ‘함께 소리를 듣는 일’입니다. 각자의 내면에서 미세하게 진동하는 것들 사이에서 생겨나는 풍경을 떠올립니다. 그 모든 풍경과 존재가 만들어낸 휘어진 시공간은 돌고 돌아 다시 자신에게로 돌아옵니다.

1. Duval Timothy – First Rain [2018] 

2. Ironomi – 風草 [2015] 

3. Cornelius – Surfing on Mind Wave, Pt.2 [2017] 

4. Max Cooper - Transcendental Tree Map [2020] 

5. Cha – love poem [2024] 

6. Yeji Yeon – Nocturnal flight [미발매] 

7. CJR – Free to Leave [미발표] 

8. Joel Vandroogenbroeck – Prelude a L'aube [1981] 

9. CJR, Oh Sera, Yeji Yeon, Cha, Joongwon, Lee Yuchae – 보이는 모든 것에 무지개가 있는 것처럼 (Improv #6, #7) [Live] 

10. Living Room – 어둠에서 빛으로 이끄소서 (Improv with CJR, Sera, Yeji) [Live] 

11. Tigran Hamasyan - Areg And Manushak [Live] 

12. Jonah Yano – The Heavy Loop [2024]

총 분량: 약 108분

Hello. This is Jiriang Cha The phrase, "Like Everything Being Seen Has a Rainbow," is both an incantation and a vow that guides one toward the multi-layered time and space between dreaming and waking. Along this journey, I have had moments of improvising with the beings I encountered, unfolding the landscape. At the suggestion of TILT, I found myself revisiting that journey and have gathered these sounds.

What I love to do most is 'listen to sounds together.' I envision the landscape that emerges from between the subtle vibrations within each of us. The warped time-space, created by all those landscapes and beings, circles and meanders only to return to oneself.

Total duration : 108 Min

2025.07.19 SAT 20:00 (토요일 저녁 8시)

Drift Mode : 

Def Jux – Independent As F*ck

— 가장 독립적인, 가장 불온했던 순간들.

처음엔 브롱스(Bronx)로 향했습니다. 불타는 도시와 커뮤니티의 에너지 속에서 힙합은 생존이자 저항이었습니다. 이후 힙합은 주류로 진입했고, Def Jam은 그 정점에 섰습니다.

그러나 우리는 물었습니다.

“그렇다면, 힙합의 또 다른 미래는 어디 있었을까?”

그 질문 끝에서, Tilt는 Def Jam이 아닌 Def Jux에 닿았습니다.

Definitive Jux Records.

1999년, El-P와 Amaechi Uzoigwe가 설립한 이 뉴욕의 인디 레이블은 2000년대 초반 힙합씬에 날카로운 균열을 만들어낸 이름이었습니다.

심지어 그들의 레이블 이름조차 선언이었습니다.

Def Jam의 이름을 비틀어, Def Jux라 명명한 것.

‘Definitive Juxtaposition’ 명확한 대조. 

즉, “우리는 그들과 전혀 다르다”는 위트 있고 단호한 선언이었습니다.

당시 힙합이 점점 더 매끈해지던 시기, Def Jux는 그 흐름을 거슬러, 전혀 다른 방향을 선택했습니다. 상업적 쾌감 대신, 거친 프로덕션과 감정의 혼란, 그리고 무엇보다도 ‘실험’을 선택했습니다.

El-P는 말합니다.

“가장 무질서하게 들리면서도, 

가장 힙합처럼 느껴지기를 원했다.”

그의 손끝에서 나온 음악은 디스토피아적이고, 

메탈 같고, 때론 기이하게 아름다웠습니다. 

Cannibal Ox의 파괴적인 붐뱁,

Aesop Rock의 난해하고 시적인 가사,

RJD2의 소울-기반 비트까지.

Def Jux는 레이블이라기보다 창작자들이 

모여 만든 자율 공동체에 가까웠습니다.

이들은 상업적 타협을 거부하고,

물질주의적 주제를 밀어내며,

자기만의 방식으로 세상을 말했습니다.

그러나 이 실험은 오래 지속되지 못했습니다.

El-P의 번아웃, 디지털 유통 구조의 변화,

그리고 Camu Tao의 사망까지.

2010년, Def Jux는 공식 활동을 멈추고

El-P는 Run The Jewels라는 또 

다른 장으로 향합니다.

Def Jux는 더 이상 존재하지 않지만,

그들이 남긴 정신은 여전히 여기에 있습니다.

예술의 중심에 아티스트를 두는 것.

표현과 실험이 가장 중요한 기준이 되는 것.

그리고 무엇보다도, 주류에 맞서

자기만의 언어를 끝까지 밀어붙이는 것.

이번 Drift Mode는 Def Jux를 넘어, 그 전후의 흐름까지 따라갑니다. 그 전신이었던 Company Flow에서 시작해, Sonic Sum 같은 비평적 지형을 흔든 팀들, 그리고 이후 Run The Jewels, billy woods, Death Grips까지, Def Jux가 열어젖힌 길 위에 놓인 사운드들을 되짚습니다.

또한, 마지막에는 그 실험 정신을 극한까지 밀어붙인 한 곡을 남깁니다. 힙합이 닿을 수 있는 가장 바깥 가장자리, 그리고 그 너머에 도달한 사운드 Autechre 의 ‘recks on‘을 가장 독립적이고 실험적인 방식으로, 이 이야기를 마무리합니다.

이것은 하나의 레이블이 아닌, 가장 힙합다웠던 실험과 독립성의 계보에 관한 이야기입니다.

“Independent as f*ck.”

끝까지, 가장 자신답게.

1. Company Flow – Definitive [1997]

2. Cannibal Ox – Vein [2001]

3. El-P – Tuned Mass Damper [2002]

4. Aesop Rock – Boombox [2001]

5. Mr. Lif – Post Mortem (feat. Akrobatik) [2002]

6. RJD2 – Final Frontier [2002]

7. Cage – Ck Won [2005]

8. Run The Jewels – Get It [2013]

9. Rob Sonic – Shoplift [2004]

10. Sonic Sum – Films (feat. Mike Ladd) [2000]

11. Billy Woods & Kenny Segal – A Day in a Week in a Year [2019]

12. Tyler, The Creator – French (feat. Hodgy Beats) [2009]

13. Westside Gunn – Free Kutter (feat. Jay Electronica) [2022]

14. Death Grips – Double Helix [2012]

15. Camu Tao – Ind of the Worl [2010]

+ Autechre - recks on [2013]

Our journey began in the Bronx. Amidst the fires and the vibrant energy of its communities, hip-hop was a tool for survival and an act of resistance. Soon, it broke into the mainstream, with Def Jam reigning at its peak.

But it made us ask:

"So, what was the other future of hip-hop?"

The answer to that question led us not to Def Jam, but to Def Jux.

Definitive Jux Records.

Founded in 1999 by El-P and Amaechi Uzoigwe, this New York indie label was the name that carved a jagged rift in the early 2000s hip-hop scene.

Even the label's name was a statement of intent. A clever twist on Def Jam, they called themselves Def Jux. It stood for "Definitive Juxtaposition"—a clear contrast.

In other words, it was a witty and defiant declaration: "We are nothing like them."

At a time when hip-hop was becoming increasingly polished, Def Jux defied the trend and chose a radically different path. They chose raw production, emotional chaos, and above all else, experimentation over commercial appeal.

As El-P put it:

“...wanted it to be the most f*cked up sounding shit that made you feel the most hip-hop ever you know and and you know we wanted it to feel the like the purest hip-hop...” 

The music he crafted was at once dystopian, metallic, and hauntingly beautiful.

From the devastating boom-bap of Cannibal Ox and the dense, poetic lyricism of Aesop Rock, to the soul-infused beats of RJD2.

Def Jux was less a record label and more of an autonomous collective for creators.

They rejected commercial compromise, shunned materialistic themes, and narrated the world on their own terms.

But the experiment was short-lived. A combination of factors—El-P's burnout, the shifting landscape of digital distribution, and the tragic death of Camu Tao—led to its end.

In 2010, Def Jux officially went on hiatus, and El-P moved on to his next chapter: Run The Jewels.

Def Jux may be gone, but its spirit endures.

To place the artist at the heart of their work. To make expression and experimentation the ultimate measures of value. And above all, to relentlessly push your own unique voice against the grain of the mainstream.

This episode of Drift Mode traces a lineage beyond just Def Jux. We’ll start with its predecessor, Company Flow, touch on groups like Sonic Sum that shook the critical landscape, and follow the path Def Jux blazed to the sounds of Run The Jewels, billy woods, and Death Grips.

And to close, we'll leave you with a track that pushes this experimental spirit to its absolute extreme. We'll conclude this story in the most fittingly independent and experimental way possible: with "recks on" by Autechre—a sound that reaches the farthest fringes of what hip-hop can be, and perhaps even ventures beyond.

This is a story not of a single label, but of a lineage defined by the most defiant spirit of experimentation and independence in hip-hop.

"Independent as f*ck."
Uncompromisingly themselves, until the very end.

2025.07.18 FRI 20:00 (금요일 오후 8시)

Drift Mode : 
Jungle is Still Massive
– 정글은 아직 끝나지 않았다

“정글은 그냥 차원이 달라. 그 무수한 부분들을 전부 합친 것, 그 이상이야. 이건 도시의 생명선이자, 하나의 태도, 삶의 방식, 

그리고 하나의 민족 그 자체라고.”
                                                                                               Two Fingas, James T Kirk 의 책 ‘정글리스트’ [1995] 중 발쵀

우리는 음악을 단지 소리나 취향의 정서만으로 듣지 않습니다. 특정한 시기, 특정한 장소에서 태어난 음악은 그 시대의 감각과 태도, 기술과 공동체의 구조를 함께 품고 있습니다. 그래서 장르는 하나의 고정된 틀이 아니라, 매 시대의 청취자가 구성해 온 감각의 문법이기도 합니다.

정글(Jungle)은 바로 그런 음악의 언어입니다.

1980년대 후반, 대처리즘이 만들어낸 사회적 해체 속에서 런던의 청년들은 제도 밖에서 스스로의 리듬을 발명했습니다. 해적 라디오의 불법 전파, 어둠 속 창고에서 벌어지던 레이브, 그리고 불완전한 기술이 만들어낸 급진적인 사운드, 정글은 그 모든 것을 통과하며, 하나의 장르를 넘어선 ‘현상’으로 자리 잡습니다.

이 음악은 자메이카 사운드 시스템의 저역, 힙합의 브레이크 샘플, 하드코어의 속도감이 교차하며 형성된 혼성의 리듬이었습니다.

특히 The Winstons의 ‘Amen Brother’ 에서 추출된 드럼 구간, 이른바 ‘Amen Break’는 수많은 정글 트랙의 뼈대가 되었고, Goldie는 하모나이저 장비의 예기치 않은 사용을 통해 시간을 늘리고 리듬을 재조합하는 ‘타임 스트레칭’ 기법을 개척합니다.

이러한 기술적 실험은 결국, 컴퓨터와 샘플러만으로 음악을 만들던 ‘침실 정글리스트’ 세대의 등장을 가능하게 했습니다

1994년, Goldie, Kemistry, Storm은 레이블 Metalheadz를 설립합니다. Metalheadz는 단지 음반사가 아니라, 공동체이자 실험의 장이자, 예술적 태도의 집약체였습니다.

음악은 그 안에서 공유되고 시험되며, Sunday Sessions at Blue Note는 그 정신이 구현되는 구체적 현장이었습니다.

단 하나뿐인 덥플레이트는 클럽에서 곡을 실험하는 살아 있는 형식이었고, Music House는 DJ와 프로듀서들이 곡을 다듬고 리듬을 조율하는 사적이자 사회적인 플랫폼이었습니다. 비트는 그 안에서 날카로워졌고, 리듬은 공동의 감각으로 다듬어졌습니다.

정글은 이후 드럼 앤 베이스(D&B)라는 더 넓은 스펙트럼 속에서 테크스텝, 리퀴드 펑크, 점프업 등 다양한 하위 장르로 분화해 갔지만, 그 중심에는 언제나 공동체, 기술, 태도라는 세 가지가 놓여 있었습니다.

이번 Drift Mode는 , 그 리듬의 계보를 다시 청취하는 시간입니다. 늘 그래왔듯 Tilt는 과거를 재현하지 않습니다. 오히려 묻습니다.

그 리듬은 지금, 우리 안에서 어떻게 울리고 있는가?

정글은 과거가 아닙니다. 
그것은 여전히 거칠고 섬세하게, 
이 시간의 구조를 흔들고 있습니다.

Jungle is still massive.

그리고 그 울림은, 지금 이 순간에도 청취의 방식으로 우리를 다시 흔들고 있습니다.


1. The Winstons – Amen Brother [1969]
2. Foul Play – Finest Illusion (Legal Mix) [1993]
3. Goldie – Kemistry [1995]
4. Total Science – Silent Reign [2000]
5. Doc Scott – Drumz ’95 (Nasty Habits Remix) [1995]
6. Ed Rush & Optical – Fixation [1998]
7. Squarepusher – Rustic Raver [1997]
8. µ-Ziq – Brace Yourself Jason [1997]
9. Forest Drive West – Set Free [2018]
10. Lee Gamble – Ghost [2012]
11. Rian Treanor – Mirror Instant [2019]
12. Yak – Rhodes Island [2023]

"Jungle is just something else. More than the sum of its myriad parts. It is the lifeblood of the city, an attitude, a way of life, a people."

Two Fingas, James T Kirk 'Junglist' [1995] 

We don't listen to music merely for its sound or as an expression of personal taste. Music born in a specific time and place embodies the sensibilities, attitudes, technology, and communal structures of its era. A genre, then, is not a rigid framework but a grammar of sensibility—one constructed by the listeners of each generation.

Jungle is precisely this kind of musical language.

In the late 1980s, amidst the social fragmentation of Thatcherism, the youth of London forged their own rhythms outside the establishment. Through the illegal airwaves of pirate radio, raves in dark warehouses, and a radical sound born from imperfect technology, Jungle emerged—not just as a genre, but as a cultural phenomenon.

It was a hybrid rhythm, forged at the intersection of the deep bass of Jamaican sound systems, the breakbeat samples of hip-hop, and the frenetic pace of hardcore.

The drum solo from The Winstons’ “Amen, Brother”—the now-legendary “Amen Break”—became the backbone for countless Jungle tracks. Meanwhile, Goldie pioneered the “time-stretching” technique, manipulating a harmonizer in unexpected ways to extend time and reassemble rhythms.

This technical experimentation ultimately paved the way for the rise of the “bedroom junglist”—a new generation of producers who could create music using little more than a computer and a sampler.

In 1994, Goldie, Kemistry, and Storm founded the label Metalheadz. Metalheadz wasn't just a record label; it was a community, a laboratory for experimentation, and the embodiment of an artistic ethos.

Within this space, music was shared and tested, and the Sunday Sessions at the Blue Note club became the physical manifestation of this spirit. One-of-a-kind dubplates were a living medium for road-testing tracks in the club, while places like Music House served as both private and social platforms where DJs and producers could refine their tracks and sync their rhythms. Here, beats were sharpened, and rhythms were honed into a collective sensibility.

While Jungle would later splinter into a wider spectrum of subgenres under the Drum & Bass (D&B) umbrella—like techstep, liquid funk, and jump-up—its core always remained a triad of community, technology, and attitude.

This edition of Drift Mode is a journey back into that rhythmic lineage. As always, Tilt isn't here to replicate the past. Instead, we ask:

How does that rhythm resonate within us today?

Jungle is not a relic of the past.
It continues to pulse, both raw and refined,
shaking the very structure of our time.

Jungle is still massive.

2025.07.17 THU 8PM 

Radio Endless: 

As Praias Desertas

— 텅 빈 해변들은 여전히…

끝내 도착한 그곳은,

누구의 것도 아닌 해변이었습니다.

누구도 머물지 않고,

누구도 묻지 않는 그 조용한 풍경 속에서,

우리는 말없이 서로를 마주 봅니다.

“텅 빈 해변들은 여전히

우리 둘을 기다리고 있어요.”

노랫말은 속삭이듯 다가옵니다.

바깥의 바람, 아무도 들어가지 않는 덤불,

그 침묵 속에서 풍경은 우리에게 묻습니다.

더는, 모른 척할 수 있느냐고.

“이곳의 공간감, 음악을 통해 장면이 그려졌으면 좋겠습니다. 여러 곡들을 거쳐 결국 인적 드문 해변에 도착하는 여정. 리우데자네이루를 직접 가보진 않았기에, 각자의 해변을 상상할 수 있으면 좋겠습니다.”

— Curated by Guest Listener, 이원석

Tilt의 문을 처음 열던 날부터 조용히, 그리고 꾸준히 이 공간과 함께해 주신 한 분이 계십니다. 음악을 진심으로 사랑하는 청취자, 이원석 님입니다.

매주 수요일과 목요일에 진행되는 Tilt의 청취 프로그램 Radio Endless의 큐레이션을 처음 부탁드렸을 때, 그는 조심스럽게 고개를 저으셨습니다.

하지만 이내,

한 곡 한 곡을 정성스럽게 고르고,

자신만의 감각으로 조용히,

그리고 놀랍도록 아름다운 여정을 완성해주셨습니다.

그의 큐레이션은 하나의 이야기입니다.

음악이 공간을 만들고, 장면을 불러오며,

결국 우리를 아직 가보지 않은 해변으로 데려갑니다.

누군가가 귀하게 모아 건넨 음악을

천천히 듣는다는 것은,

정성스레 차려낸 음식을 대접받는 일과도 같습니다.

그리고 그런 음악 앞에서는,

듣는 일 또한 하나의 예의가 됩니다.

이 여정이 여러분의 마음속 풍경을 불러오기를.

그리고 그 풍경의 끝에서,

고요하고 깊은 감정을 마주하시기를 바랍니다.

각자의, 텅 빈 해변들에서.

1. John Scofield - I Loves You Porgy [2011]
2. Hania Rani - Buka [2020]
3. Jóhann Jóhannsson - Two is Apocryphal [2022]
4. Stephan Micus - Narration Two [2004]
5. Meredith Monk - Early Morning Melody [1990]
6. Carla Bley - More Brahms [1987]
7. Ralph Towner - Always By Your Side [2006]
8. Shinya Fukumori Trio - Spectacular [2018]
9. Fred Hersch - And so It Goes [2017]
10. Tom Harrell - Apple House [2017]
11. Brad Mehldau & Mark Guiliana - London Gloaming [2014]
12. Ólafur Arnalds - improvisation [2025]
13. Max Richter - The Blue Notebooks [2004]
14. Suso Saiz - They Don't Love Each Other [2017]
15. Morelenbaum²/Sakamoto - As Praias Desertas [2001]

The place we finally reached
was a beach that belonged to no one.

In that quiet landscape where no one lingered,
and no one asked a thing,
we faced each other in silence.

“The empty beaches are still
waiting for the two of us.”

The lyrics drift in like a whisper.
The wind outside, the untouched thicket—
in that silence, the landscape asks us:

Can we feign ignorance any longer?

“I hope the music evokes a sense of space, painting a scene for the listener. A journey through several songs that ultimately leads to a secluded beach. I've never been to Rio de Janeiro myself, so I hope this allows everyone to picture a beach of their own.”

— Curated by Guest Listener, Lee Won-seok

There is one person who has been with us, quietly and consistently, since the day TILT first opened its doors. A listener who truly loves music: Lee Won-seok.

When we first asked him to curate Radio Endless, he cautiously declined.

But soon after,
he meticulously selected each and every song,
quietly crafting, with his own sensibility,
a surprisingly beautiful journey.

His curation is a story.

The music creates a space, evokes a scene, and ultimately, takes us to a beach we've never visited before.

To listen slowly to music that someone has preciously collected and offered is like being served a thoughtfully prepared meal.

And in the presence of such music, the act of listening itself becomes a form of respect.

May this journey evoke a landscape within your own mind.

And at the edge of that landscape, may you encounter a quiet and profound emotion.

On your own, empty beaches.

2025.07.12 SAT 9PM (토요일 저녁 9시)

Drift Mode :
Tresor – Sounds of the Fallen Wall
무너진 장벽의 소리, 그리고 그 이후의 리듬

이번 토요일 밤, 우리는 Tresor의 사운드를 통해 베를린 장벽 붕괴 이후의 시간과 공간에 다시 귀 기울여 봅니다. 처음에는 그저 콘크리트가 부서지는 소리처럼 들렸을지 모를 이 울림은, 사실 냉전의 잔해 위에서 새로운 시대를 열고자 했던 세대의 리듬이었습니다.

디트로이트의 기계음과 베를린의 폐허 속에서 피어난 실험 정신이 교차하며, 이곳은 당시 도시 전역에 퍼져 나간 운동의 진원지가 되었습니다.

장벽의 잔해 속에서 발견된 이름, Tresor

Tresor의 이야기는 1991년, 장벽이 무너진 지 얼마 지나지 않은 베를린에서 시작됩니다. 분단의 경계가 사라지고, 버려진 공간들이 도시 곳곳에 남겨져 있던 시기. 디미트리 헤게만 (Dimitri Hegemann) 은 과거 백화점 지하에 자리한 오래된 금고 (Tresor)를 발견합니다.

어둡고 습기 가득한 이 장소는, 당시 누구에게도 환영받지 못한 폐허였지만, 그에겐 새로운 문화의 태동을 품을 수 있는 가능성의 공간이었습니다.

이 금고는 곧 베를린 테크노의 상징적 장소가 됩니다. 트레조어 (Tresor) 라는 이름은 ‘금고’라는 뜻을 넘어서, 분단의 흔적과 해방의 열망이 중첩된 공간적 메타포로 기능하기 시작합니다.

디트로이트에서 도착한 미래의 신호

Tresor의 음악적 정체성은 디트로이트 테크노로부터 강한 영향을 받습니다. 헤게만은 한 장의 레코드에 적힌 지역 번호 ‘313’으로 전화를 걸었고, 그 통화는 제프 밀스 (Jeff Mills) 와의 만남으로 이어집니다.

이후 Tresor Records의 첫 릴리스 Underground Resistance의 ‘Sonic Destroyer’가 발표됩니다.
이 곡은 경계를 넘어 도착한 음향이자, 냉전 이후 세대가 하나의 플로어에서 리듬을 통해 만난 ‘통일 이후의 사운드트랙’이 되었습니다.

차갑고 산업적인 디트로이트의 사운드는 Tresor의 철문과 콘크리트 벽 안에서 더욱 거칠고 생생한 울림으로 증폭되었고, 그 자체로 억압 이후의 해방을 상징하는 리듬으로 받아들여졌습니다.

이번 토요일 밤, Tilt에서 그 울림은 다시 시작됩니다.
‘Tresor – Sounds of the Fallen Wall’은 이 역사의 연장선상에 놓인 프로그램입니다. 우리는 테크노가 시작되는 장소가 아니라, 역사가 여전히 반향을 남기는 공간 안에서 그날의 에너지를 청취하게 될 것입니다.

1990년대 초 베를린을 가득 메웠던 혼란과 희망, 폐허 위에서 시작된 실험, 그리고 디트로이트와의 음악적 연대는 지금도 여전히 유효한 울림을 만들어내고 있습니다.

Tresor는 감각의 소비를 넘어, 시대의 균열을 지나며 새로운 질서를 선언했던 공간입니다.

다가오는 토요일, 우리는 그 역사적 울림을 Tilt에서 다시 마주합니다. 장벽이 무너진 뒤에도 여전히 남아 있는 질문들, 그리고 그 질문 속에서 되살아나는 리듬 속으로 천천히 발을 들입니다.

1. X-101 - Sonic Destroyer [1991]
2. 3MB - Bassmental [1992]
3. Joey Beltram - TenFour [1995]
4. Jeff Mills - Condor To Mallorca [1994]
5. Blake Baxter - One Mo Time (Mix 1) [1991]
6. Cristian Vogel - What [1995]
7. Surgeon - Returning to the Purity of Current [1996]
8. James Ruskin - Detached [2000]
9. Scan 7 - Beyond Sound [1996]
10. Robert Hood - Internal Empire [1994]
11. Eddie Fowlkes - Move to Detroit [1991]
12. Audiotech - Techno City ‘95 [1995]

This Saturday night, the sound of Tresor transports us back to the time and space after the fall of the Berlin Wall. What might have initially sounded like mere crumbling concrete was, in fact, the rhythm of a generation determined to forge a new era from the remnants of the Cold War.

Where the mechanical sounds of Detroit met the experimental spirit blossoming amidst Berlin's ruins, this place became the epicenter of a movement that swept across the city.

Tresor: A Name Discovered in the Debris of the Wall

The story of Tresor begins in 1991, in a Berlin where the borders of division had just vanished, leaving abandoned spaces scattered throughout the city. It was then that Dimitri Hegemann discovered an old vault (Tresor) in the basement of a former department store.

This dark, damp space, a ruin unwanted by most, was for him a canvas of potential—a place where a new culture could be born.

This vault soon became an iconic venue for Berlin techno. The name Tresor transcended its literal meaning of "vault," becoming a spatial metaphor where the scars of division and the yearning for freedom converged.

A Signal from the Future, Arriving from Detroit

Tresor's musical identity was heavily influenced by Detroit techno. Hegemann dialed the area code "313" he found on a record sleeve, and that call led to a meeting with Jeff Mills.

Soon after, Tresor Records launched its first release: "Sonic Destroyer" by Underground Resistance. This track was more than just music; it was a sonic message that crossed borders, becoming the "soundtrack to reunification"—a unifier for a post-Cold War generation meeting on a single dance floor.

The cold, industrial sound of Detroit was amplified within Tresor's steel doors and concrete walls, transforming into a raw, visceral echo. It was embraced as the very rhythm of liberation from oppression.

This Saturday night at Tilt, that echo is rekindled.
"Tresor – Sounds of the Fallen Wall" is a program that stands as a continuation of this history. We will not just be in a place where techno is played, but within a space where history still reverberates, listening to the energy of those days.

The chaos and hope that filled early 1990s Berlin, the experimentation born from the ruins, and the musical solidarity with Detroit—all of these continue to create a resonance that is just as relevant today.

Tresor was more than a place for sensory consumption; it was a space that navigated the fractures of an era to declare a new order.

This coming Saturday at Tilt, we will once again encounter that historic echo. We will step slowly into the rhythm that revives itself amidst the questions that still linger, long after the Wall has fallen.

2025.07.11 FRI 21:23-22:24

Drift Mode: THE METAPHYSICS OF CRACKLE

Songs from Beneath the Earth

땅 아래로부터 올라온 노래들

“어느 밤, 그는 십자로에 도착했다.

기타를 건네고 돌아온 그는,

더 이상 같은 사람이 아니었다.”

로버트 존슨 (Robert Johnson)에 얽힌 이 유명한 일화는 그가 실제로 악마와 계약했는지보다, 그의 음악이 인간적인 시간의 감각을 넘어선 채 들린다는 사실을 더욱 분명히 드러냅니다.

이번 큐레이션은 델타 블루스의 고전들을 통해, 지면 아래로부터 올라오는 감정의 잔향을 따라 청취합니다.

이 곡들에는 땅속 깊이 가라앉은 기억과 기록되지 못한 삶의 흔적, 그리고 아직도 사라지지 않은 울림이 머물러 있습니다.

녹음기의 잡음, 긁힌 음질, 불완전한 해상도 등 모든 요소들은 오히려 음악의 실체를 더 가까이 끌어당깁니다.

영국의 사상가 마크 피셔 (Mark Fisher)는 오래된 음반의 지직거림, 낡은 녹음물의 잡음 속에서 사라진 과거의 감정이 다시 떠오르는 순간을 이야기했습니다. 그는 이를 ‘지직거림의 형이상학 (Metaphysics of Crackle)’이라 부르며, 존재하지 않는 것들의 정서가 여전히 청취될 수 있음을 보여주었습니다.

그 소리는 완전히 사라지지 않은 감정들, 기억의 밑바닥에 남겨진 정서의 지층입니다.

델타 블루스는 그런 식으로 존재합니다. 이야기로 기억되기보다는, 증상처럼 들립니다. 믿음과 회의, 고통과 구원, 기억과 잊힘이 뒤엉킨 채, 이 곡들은 단 한 번도 동일하게 반복된 적이 없습니다. 그때 그 장소, 그 감각 위에서만 출현하는, ‘기록’이 아닌, 매번 다른 방식으로 존재하는 청취의 형식입니다.

어느 날은 기도처럼, 어떤 날은 저주처럼.

어느 밤은 증언처럼, 다음 날은 환상처럼.

거의 한 세기 전, 땅과 노동, 신앙과 고통 사이에서 흘러나온 이 소리는 먼 남부의 진흙탕과 낡은 녹음기의 마이크, 그 안에 숨어 있던 한 줄기 숨소리까지 품고 지금 이 순간, 우리의 청각을 붙잡고 있습니다.

Tilt는 그 감정의 흔적들이 다시 들릴 수 있도록, 공간과 시간의 맥락을 조율할까 합니다. 우리는 지금, 그 소리를 듣기 위해 이 청취의 공간에 들어섭니다.

존재는 말해지지 않고, 들립니다.

그리고 때로는 존재하지 않는 것들이 더 정확히, 우리를 부릅니다

—

1. Robert Johnson – Hell Hound On My Trail [1937]
2. Willie Brown – Future Blues [1930]
3. Blind Willie Johnson – Dark Was the Night, Cold Was the Ground [1927]
4. Skip James – Devil Got My Woman [1931]
5. Tommy Johnson – Cool Drink of Water Blues [1928]
6. Bukka White – Fixin to Die Blues [1940]
7. Charley Patton – Pony Blues [1929]
8. Blind Willie McTell – Statesboro Blues [1928]
9. Mississippi Fred McDowell – Woke Up This Morning With My Mind on Jesus [1959]
10. Son House – Grinnin’ In Your Face [1965]
11. Reverend Gary Davis – Death Don’t Have No Mercy [1960]
12. Mattie Delaney – Down the Big Road Blues [1930]
13. Hambone Willie Newbern – Roll and Tumble Blues [1929]
14. Muddy Waters – Ramblin’ Kid Blues [1942]
15. Kid Bailey – Rowdy Blues [1929]
16. Sleepy John Estes – Someday Baby Blues [1935]
17. Ishmon Bracey – Trouble Hearted Blues [1928]
18. Vera Hall – Trouble So Hard [1937]
19. Geeshie Wiley – Last Kind Word Blues [1930]
20. Lead Belly – Where Did You Sleep Last Night? [1944]

Songs from Beneath the Earth

"One night, he came to the crossroads.
He handed over his guitar, and when he returned,
he was no longer the same man."

This famous anecdote about Robert Johnson reveals something more profound than whether he actually made a pact with the devil: it highlights that his music seems to exist beyond the human sense of time.

This curation invites you to listen along the emotional resonances rising from beneath the earth, guided by the classics of the Delta Blues.

Within these songs reside memories sunk deep in the ground, traces of unrecorded lives, and an echo that has yet to fade.

The hiss of the recorder, the scratched sound quality, the imperfect resolution—all these elements do not detract. Instead, they draw us closer to the music's very essence.

The British thinker Mark Fisher wrote of the moments when lost feelings of the past resurface through the crackle of old records and the static of aging tapes. He called this the "Metaphysics of Crackle," demonstrating that the sentiments of what no longer exists can still be heard.

That sound is a stratum of emotion left at the bottom of memory—feelings that never fully vanished.

Delta Blues exists in this way. It is heard as a symptom more than it is remembered as a story. A tangle of faith and doubt, pain and salvation, memory and forgetting, these songs are never the same twice. It is not a static "recording," but a form of listening that emerges only in that time, that place, and upon that feeling—existing differently with every encounter.

Some days, like a prayer; on others, a curse.
One night, like a testimony; the next, a hallucination.

Born nearly a century ago from the space between earth and labor, faith and pain, this sound carries it all: the muddy waters of the distant South, the microphone of a worn-out recorder, even the single breath held within. And at this very moment, it seizes our ears.

Here at Tilt, we seek to attune the context of space and time, allowing these emotional traces to be heard once more. We now enter this listening space to hear that sound.

Existence is not spoken; it is heard.
And sometimes, it is that which does not exist that calls to us most precisely.

2025.07.10 THU 8PM (목요일 저녁 8시)
Radio Endless :

Sound of Dystopia — 불편한 정서의 지도

Tilt는 ‘어떻게 들을 것인가’를 묻는 공간입니다. 이번 큐레이션 역시 그 질문을 바탕으로 구성된 청취 목록입니다.

1980년대, 서구의 음악 신(scene)은 급격한 산업 재편과 정치적 보수주의의 그림자 속에서 새로운 언어를 모색해야 했습니다. 이 시기 등장한 인더스트리얼, 포스트펑크, EBM(전자신체음악) 등의 흐름은 음악적 분류를 거부하는 정서의 움직임으로, 도시 불안과 감정 붕괴에 대한 집단적 반응이었습니다.

기계음과 반복, 일그러진 리듬, 감정의 과잉과 단절은 모두 청취를 통한 ‘저항’의 제스처였고, 동시대의 미술과 철학, 실험적 퍼포먼스 또한 비슷한 방식으로 응답했습니다. 몸의 경직, 언어의 파열, 구조의 해체는 모든 감각 장르에서 되풀이되던 질문이었습니다. “무엇이 감정이고, 어디까지가 감각인가.”

그리고 지금, 우리는 또 다른 형태의 도시적 경직과 감각적 피로 속에 놓여 있습니다. 불안정한 경제, 고립된 일상, 무력한 분노, 반복되는 구조적 침묵. 한 세대가 겪은 ‘미래 없음(No Future)’의 정서는, 오늘의 한국 사회에서 기묘하게 되살아나고 있습니다.

이 리스트는 그런 중첩된 시간 위에 놓인 음악들로 구성되어 있습니다. 질서에서 벗어난 리듬과 해체된 구조가 감각을 위로하기보다 낯설게 만들며, 청취자를 멈칫하게 하고 깨어 있게 합니다. 이 사운드들은 춤추는 몸이 아닌 경직된 몸을, 유연한 흐름이 아닌 긴장을, 기분 좋은 배경이 아닌 불편함이라는 정서의 지도를 상상하게 만듭니다.

Tilt는 이 낯선 청취를 통해 다시 묻습니다.
지금, 우리는 어떤 시대의 정서를 듣고 있는가.

1. Throbbing Gristle – 20 Jazz Funk Greats [1979]

2. Cabaret Voltaire – Badge of Evil [1983]

3. Depeche Mode – Pipeline [1983]

4. Coil – Panic [1985]

5. Einstürzende Neubauten – Yü-gung (Fütter mein Ego) [1985]

6. Suicide – Rocket USA [1977]

7. Ike Yard – Motiv [1981]

8. Karl and The Kurbcrawlers – Same Day (Again) [1993]

9. Skinny Puppy – Worlock [1989]

10. Nitzer Ebb – Let Your Body Learn [1987]

11. Keith LeBlanc  – Major Malfunction [1986]

12. Nick Cave & The Bad Seeds – From Her to Eternity [1984]

13. Tuxedomoon – No Tears [1978]

Tilt is a space that continuously asks the question: How should we listen?

This listening session is curated around that very question.

In the 1980s, the Western music scene found itself searching for a new language in the shadow of rapid industrial restructuring and rising political conservatism. Emerging movements like industrial, post-punk, and EBM (Electronic Body Music) were less about genres than they were about emotional refusal—collective reactions to urban anxiety and emotional breakdown.

Mechanical sounds, repetition, distorted rhythms, and emotional excess or detachment became gestures of resistance through listening. At the same time, contemporary art, philosophy, and experimental performance responded in kind: with stiffened bodies, ruptured language, and structural collapse. Across all sensory forms, the same question echoed: What is emotion, and where does sensation end?

Today, we face a different kind of urban rigidity and sensory fatigue—an unstable economy, isolated daily lives, powerless rage, and a recurring structural silence. The feeling of “No Future” once experienced by a generation is strangely resurfacing in Korean society today.

This playlist brings together music that sits atop these overlapping timelines. Rather than comforting the senses, these tracks unsettle them—with unruly rhythms and dismantled structures that disrupt, pause, and awaken. These sounds don’t imagine the body in dance, but in stiffness; not flow, but tension; not pleasant background, but a map of emotional discomfort.

Through this unfamiliar listening, Tilt asks once again:
What kind of emotional landscape are we listening to now?

2025.07.05 9PM (토요일 저녁 9시)

Drift Mode: Listening through the Space

아무것도 고정되어 있지 않습니다.

그저, 흐름만이 있습니다.

소리는 공간을 채우는 것이 아니라,

어쩌면 공간을 만들어내는 것일지도 모릅니다.

이번 큐레이션의 사운드들은 그 상상을 따라갑니다.

익숙한 구조나 선명한 메시지를 따르지 않고,

질감과 방향, 침묵 사이를 부유하며 보이지 않는

건축을 세우고, 허물기를 반복합니다.

‘듣는다’는 행위의 방식도 다를 수 있습니다.

오늘은 조심스레, 두 가지 청취의 틀을

제안드립니다.

하나는 초점적 듣기입니다.

사운드의 미세한 질감이나 주파수의

변화에 의식을 모아, 한 지점에 깊이

머무는 방식입니다.

다른 하나는 포괄적 듣기입니다.

스피커에서 나오는 소리뿐 아니라,

그 소리가 벽에 닿아 생기는 반향,

공기의 미묘한 떨림, 그리고 청취자의 호흡과

생각까지도 포함하여 이 순간 존재하는

모든 소리를 하나로 받아들이는 태도입니다.

주의는 어느 순간에는 한 점에 머물고,

다음 순간에는 전체를 감쌉니다.

그 유동하는 감각의 흐름이,

바로 오늘의 ‘Drift’입니다.

감각이 움직이는 방식이 곧 여러분의 리듬이며,

그 반응 하나하나가 이 공간을 완성합니다.

그저 편안히,

지금 이 순간 소리의 흐름을 따라가 주세요.

목적 없는 표류, 그 자체로 충분합니다.

1. emptyset - Divide [2012]

2. Matmos - You [2013]

3. Inga Copeland - advice to young girls (feat. Actress) [2014]

4. Zoë Mc Pherson - Komusar (N1L blood red moon remix) [2018]

5. Atom™ - Pop HD [2013]

6. Ryoji Ikeda - test pattern #0100 [2008]

7. Senking - Scouts and Spies [2015]

8. Blessed initiative - Delirium juice & taste of jewelry [2016]

9. Yaporigami - Who Are You [2016]

10. Russell Haswell - Heavy Handed Sunset (Autechre Conformity Version) [2016]

11. Mads Emil Nielsen - 3 [2020]

12. Benge - 1972 Serge Modular [2007]

Nothing is static.

There is only the flow.

Sound does not merely occupy space;
perhaps it is what creates space itself.

The sounds in this curation follow this very notion.

Instead of adhering to familiar structures or distinct messages, they drift between texture, direction, and silence, continuously constructing and deconstructing an unseen architecture.

The very act of listening can also be approached in different ways.

Today, we gently offer two frameworks for listening.

The first is Focused Listening.

This is a method of concentrating your awareness on the subtle textures of sound or the shifts in frequency, allowing you to dwell deeply on a single point.

The second is Expansive Listening.

This is an approach where you embrace every sound present in the moment as a single whole—not just the audio from the speakers, but also its reverberations off the walls, the subtle trembling of the air, and even your own breath and thoughts.

Your attention may rest on a single point in one moment, and in the next, it may expand to envelop the whole. This very flow of shifting senses is what we call today's 'Drift.'

The way your senses move becomes your rhythm, and every reaction you have is what completes this space.

Simply relax, and allow yourself to follow the flow of sound in this present moment.

This aimless drift, in and of itself, is more than enough.

2025.06.30 MON 8PM

Unmapped Rhythms — Listening Beyond the Grid

격자 없는 리듬.

들리지 않던 리듬의 결을 따라 청취하는,

25인의 음악가가 제안하는 감각의 흐름이 열립니다.

정식 오픈 하루 전, 저녁 8시.

Tilt는 이 흐름의 일부를, 공간 전체를 감싸는 SPL(사운드 레벨)로 공유합니다. 청취의 밀도는 오늘 밤, 더 또렷하게 드러납니다.

오늘은 파일럿 운영의 마지막 무료 개방일이며, 이 흐름에 가장 먼저 귀를 기울일 수 있는 저녁입니다.

7월 1일부터는 새로운 청취 흐름과 함께

유료 입장이 시작됩니다.

Rhythms without a grid.

A new current of sensation, curated by 25 artists, is opening up—inviting you to follow the texture of rhythms previously unheard.

At 8 PM, the night before our official opening, Tilt will share a preview of this stream, enveloping the entire space in sound. Tonight, the very density of the listening experience will be revealed with new clarity.

This is the final night of free admission for our soft launch, offering the very first chance to tune into this new flow.

Starting July 1, paid admission will begin with the launch of our new listening programs.

Phonic Cycle~ Unmapped Rhythms

[JULY 2025]

1. AGF - heart broken BUT not broken [2017]

2. Jan Jelinek - Moiré (Piano & Organ) [2001]

3. Dakim - highwire [2020]

4. [The User] - ^.^%^%^% [1999]

5. Grischa Lichtenberger - 1 req [2020]

6. Rashad Becker - of Permanent Advent [2025] 

7. Pan Sonic - Radiokemia [1998] 

8. Vladislav Delay - Anima (Version) [2001]

9. Bernard Parmegiani - Ondes croisées [1975]

10. Iannis Xenakis - Pléiades: I. Mélanges [1979]

11. Mark Fell - Multistability 1-B [2010]

12. Autechre - SURRIPERE [2003]

13. Millie & Andrea - Temper Tantrum [2014]

14. SND - -1,100 [1999]

15. NHK yx Koyxen - Lotus [2022]

16. Eli Keszler - Simple Act Of Inverting The Episode [2018]

17. Burnt Friedman & Jaki Liebezeit - Rechter Winkl [2002]

18. Ondo Fudd - Earth Queen Voice [2019]

19. Frank Bretschneider - The big black and white game [2007]

20. Beatrice Dillon - Workaround Eight [2020]

21. Thomas Brinkmann - Zeichenkette [2017]

22. D/P/I - Ecstatics [2016]

23. Jlin - Ra [2015]

24. AOKI Takamasa - Rhythm Variation 02 [2013]

25. Nicola Ratti - W11 [2016] 

2025.06.29 SUN 6PM (일요일 오후 6시)
 
A Quiet Lineage
조용한 계보
 
Takemitsu / Pärt / Budd / Vainio
 
토오루 타케미츠 (Tōru Takemitsu) , 아르보 페르트 (Arvo Pärt), 해롤드 버드 (Harold Budd).
이 세 작곡가의 이름을 처음 접한 것은 대학 시절, 책 속에서였습니다.
 
‘명상적’, ‘미니멀’, ‘정제된’ 같은 단어들이 따라붙었지만, 그 언어들만으로는 음악에 닿을 수 없었습니다. 언제나 무엇인가 빠져 있다는 감각, 설명되지 않는 여백이 남아 있었기 때문입니다.
 
오랜 시간이 흐른 뒤, TILT에서 언젠가 반드시 다시 마주하게 될 음악가, 미카 바이니오(Mika Vainio)가 이 세 작곡가를 깊이 아꼈다는 사실을 알게 되었습니다. 특히 해롤드 버드와는 실제로 편지를 주고받았다고 합니다.
 
그 사실 하나만으로 청취는 달라졌습니다.
미카 바이니오의 침묵처럼 단단한 한 음 안에서
타케미츠의 여백, 페르트의 질서, 버드의 잔향이
자연스럽게 겹쳐 들려왔습니다.
 
⸻
 
토오루 타케미츠 (Tōru Takemitsu) 는 흐릅니다.
어디로 향하지 않고, 다만 머뭅니다.
그의 음악은 말보다 여백을 더 신뢰하며,
그 여백 속에서 존재의 상태를 조용히 지켜봅니다.
 
⸻
 
아르보 페르트 (Arvo Pärt)는 질서를 말합니다.
하지만 그것은 억압이 아닌, 비워냄의 구조입니다.
음과 음 사이가 서로를 살리는 틴틴나불리의 질서입니다.
 
⸻
 
해롤드 버드 (Harold Budd) 는 감정을 직접 말하지 않습니다.
그는 자리를 비워둔 채, 감정을 조용히 머물게 합니다. 그의 음악은 사라지지 않고, 남아 있는 방식으로 마음을 건드립니다.
 
⸻
 
존재 이전의 감정, 그리고 청취
 
이 세 사람의 음악을 다시 듣는다는 것은 결국 한 음악가의 흔적을 따라가는 일이기도 합니다. 배운 언어가 아니라, 소리 속에서 깨어나는 감각의 호흡을 따라가는 일입니다.
 
그들의 음악은 감정을 끌어내려 하지 않고, 감정이 자연스럽게 떠오를 수 있도록 조용한 여지를 남겨둡니다.
 
⸻
 
이 음악을 다시 듣는다는 것은 무언가를 설명하거나 해석하는 일이 아닐 것입니다. 그보다는 단지, 들린다는 사실 자체를 고요히 받아들이는 일에 가깝습니다.
 
타케미츠, 페르트, 버드 그리고 그들을 다시 연결해준 미카 바이니오. 이 조용한 계보는 음악이 아니라, 청취의 감각으로 이어집니다. 그 관계 안에서, 우리는 말보다 먼저 존재하는 감정을 듣습니다.
 
Toru Takemitsu - Piano Distance [1961]
Arvo Pärt - Spiegel im Spiegel [1978]
Harold Budd - Luxa [1996]
Ø (MIKA VAINIO) - Heijastuva [2001]
 

A Quiet Lineage

Takemitsu / Pärt / Budd / Vainio

Tōru Takemitsu, Arvo Pärt, Harold Budd.

I first encountered the names of these three composers in a book during my college years.

They were often described with words like "meditative," "minimal," and "refined," but those labels alone couldn't get me to the heart of their music. There was always a sense that something was missing—an unexplained space that language failed to fill.

Much later, at TILT, I learned that Mika Vainio—a musician whose work I knew I would inevitably return to—deeply admired these three composers. He had even corresponded with Harold Budd.

That single fact transformed my listening experience.

Within a single, solid note from Mika Vainio—as firm as silence itself—I could hear the overlapping echoes of Takemitsu's negative space, Pärt's structure, and Budd's resonance, all layered together naturally.

⸻

Tōru Takemitsu flows.
It doesn't travel toward a destination; it simply lingers.
His music places more trust in space than in words, quietly observing the state of being within it.

⸻

Arvo Pärt speaks of order.
But it is not an order of restriction; it is a structure of release.
It is the order of tintinnabuli, where the space between notes allows each one to breathe.

⸻

Harold Budd does not state emotion directly.
He leaves a space vacant, allowing feeling to quietly settle in.
His music touches the soul not by fading away, but by remaining.

⸻

Feeling Before Form, and the Act of Listening

To revisit the music of these three composers is, ultimately, to trace the path of another. It is to follow not a learned language, but the very breath of sensation as it awakens within the sound.
Their music doesn't try to extract emotion. Instead, it leaves a quiet space for feeling to surface on its own.

⸻

Listening to this music again is not an exercise in explanation or interpretation. It is, rather, a quiet acceptance of the simple fact of hearing.
Takemitsu, Pärt, and Budd—and Mika Vainio, the link that joins them. This quiet lineage is passed down not through composition, but through the act of listening itself. Within that connection, we hear the feelings that exist before words.

2025.06.28 SAT 8PM (토요일 저녁 8시)

Distorted Senses, A Quiet Escape

일그러진 감각, 조용한 탈출

– Dub Listening at TILT

덥(Dub)은 질서의 바깥에서 울려 퍼졌습니다. 형식으로는 레게에서 분기되었지만, 감각으로는 전혀 다른 세계를 제안했습니다.

사라진 소리 위에 잔향이 맴돌고, 리듬은 그 공백을 밀어내며 구조가 해체될 때, 청취는 새로운 장소로 이주합니다.

이것은 단순한 효과가 아니였습니다. 자메이카의 덥은 식민주의의 잔재 위에서 발화된 청취의 전략이었습니다. 불균형한 도시 구조, 계급적 억압, 언어로 환원되지 않는 긴장이 낮은 저음, 멀어지는 목소리, 반복되는 공간감 속에 숨겨졌습니다.

킹 터비 (King Tubby)와 리 “스크래치” 페리 (Lee “Scratch” Perry)는 그 현실을 스튜디오에서 해체했습니다. 덥은 곡을 만드는 방식이 아니라, 현실을 다루는 하나의 태도였습니다.

그러나 이 음악은 말해지지 않았습니다. 흔들림과 진동, 그 흐름 속에서 사람들은 말을 줄이고, 몸으로 느끼며, 공백과 떨림 속에서 탈출의 방향을 감각했습니다.

한국에서 덥은 다른 시간대에 도착했습니다. 공동체를 진동시키는 사운드 시스템의 맥락은 사라진 채, 덥은 ‘몽환적인 무드’, ‘미분화된 리듬’, ‘낯선 사운드 디자인’으로 소비되었습니다. 정치와 저항은 말소되었고, 감각은 정제된 스타일로 변주되었습니다. 마치 펑크(Punk)가 한 시대를 지나 패션과 장르적 감각만 남긴 것처럼.

그러나 그것이 이 음악의 의미를 지운다고는 생각하지 않습니다. 오히려 그 이동의 흔적, 왜곡된 전이의 궤적 안에 덥이 처음 가졌던 질문이 다시 떠오릅니다.

“이것은 음악인가, 감각인가, 탈출인가?”

TILT는 이번 청취를 통해, 덥이라는 사운드가 만들어낸 일그러진 감각의 지형을 다시 따라가려 합니다.

뒤틀린 리듬과 부유하는 소리는, 공간을 다시 구성합니다. 그것은 현실을 떠나는 것이 아니라, 현실의 다른 감각 조건을 제안하는 은밀한 실천입니다.

1. King Tubby & Lee ”Scratch“ Perry - No Justice For the Poor [1974]

2. Rhythm & Sound - History Versión [2004]

3. Moritz Von Oswald Trio - Blue Dub [2015]

4. Romare - Pusherman [2013]

5. Burial - Southern Comfort [2006]

6. Kode9 & the Spaceape - Sine [2006]

7. Rainer Veil - UK Will Not Survive [2013]

8. Pole - Tölpel [2020]

9. LV & Untold - Beacon [2010]

10. Pangaea - You & I [2010]

11. I-LP-O IN DUB - DARK MONEY DUB [2021]

12. Andy Stott - Blocked [2011]

13. Paul St. Hilaire & Deadbeat - Working Everyday [2018]

14. Jah Shaka - Thunderous Dub [1984]

Distorted Senses, A Quiet Escape

– Dub Listening at TILT

Dub emerged from beyond the bounds of order. Though it branched off from reggae in form, it offered a radically different sensory world.

Echoes linger over vanished sounds, rhythms push against the silence, and structure unravels — in that moment, listening migrates to a new place.

This wasn’t just an effect. Dub in Jamaica was a listening strategy forged on the remnants of colonialism. Low frequencies, fading voices, and recursive spatial sensations carried the tensions of urban imbalance, class oppression, and that which could not be reduced to language.

King Tubby and Lee “Scratch” Perry dismantled that reality in the studio. Dub was not simply a method for making tracks — it was a way of confronting the world.

And yet, dub was never spoken. In its tremors and vibrations, people spoke less, felt more, and sensed directions of escape in silence and shimmer.

In Korea, dub arrived on a different timeline. Removed from the sound system cultures that once shook communities, it was consumed as “dreamy mood,” “diffuse rhythm,” or “unfamiliar sound design.” Politics and resistance were erased, and its raw sensibility became a polished aesthetic — much like how punk, over time, left behind only fashion and genre cues.

But that doesn’t mean dub’s meaning has vanished. In fact, within the traces of that displacement — the distorted arc of its migration — the questions dub once posed begin to resurface:

"Is this music, sensation, or escape?"

Through this listening session, TILT invites you to trace the contours of the warped sensory landscape that dub carved out.

Distorted rhythms and drifting sounds recompose space. Not as a means to flee reality, but as a quiet practice of proposing alternate sensory conditions within it.

2025.06.26 THU 8PM (목요일 저녁 8시)

존재는 말해지지 않고 들린다.

이번 플레이리스트는 특정한 정체성을 말하지 않습니다. 그러나 단일하지 않은 목소리, 불균질한 감정, 경계가 흐려진 몸의 감각을 따라갑니다.

정체성은 기계와 육체, 텍스처와 목소리 사이의 틈에서 형성되고 때로는 어긋납니다.

사운드 역시 구호가 아닙니다. 하지만 그것이 구성되는 방식은 이미 하나의 저항입니다. 익숙한 언어 바깥에서, 이질적인 감도들이 저마다의 방식으로 자리를 잡아갑니다.

이 리스트는 그 움직임의 윤곽을, 청취라는 방식으로 제안합니다.

1. Holly Herndon - Chorus [2014]

2. Debit - 7th Night [2022]

3. Flora Yin-Wong - Beautiful Crisis [2020]

4. Ziúr & Elvin Brandhi - Eyeroll [2021]

5. SOPHIE - Faceshopping [2018]

6. Ana Quiroga - Inner City Light [2022]

7. Rosie Lowe - Mood To Make Love [2023]

8. Hyperdawn - Lucky you, lucky me [2019]

9. Cucina Povera & ELS - Marmori [2022]

10. Felicia Atkinson & Jefre Cantu-Ledesma - Indefatigable Purple [2021]

11. Pharmakon - Transmission [2017]

12. Arca - Mutant [2015]

13. Zoë Mc Pherson - Blender [2022]

14. Ben Vida, Yarn/Wire & Nina Dante - The Beat My Head Hit [2021]

15. Heather Leigh - Lena [2018]

Existence is not spoken — it is heard.

This playlist does not speak of a specific identity. Instead, it traces uneven voices, fragmented emotions, and blurred sensations of the body.

Identity forms — and at times misaligns — in the gaps between machine and flesh, texture and voice.

Sound is not a slogan. Yet the way it is assembled already acts as a form of resistance. Outside familiar language, foreign sensibilities find their place in their own ways.

This playlist offers the contours of that movement — through the act of listening.

2025.06.27 FRI 8PM (이번주 금요일 저녁 8시)

정식 오픈 전, 지금은 Tilt를 탐색하는 시간입니다. 이번 주간은 자유롭게 들러주셔도 좋습니다.

An Evening Before Memory Gains Direction
기억이 방향을 갖기 전의 저녁

이 리스트는, 우연히 듣게된 그리샤 리히텐베르거(Grischa Lichtenberger) @grischalichtenberger의 유령학적 믹스테이프(Hauntological Mixtape)에서 시작되었습니다.

잘려진 듯한 음향 조각들과 그 사이의 침묵, 제목도 연도도 맥락도 없이 떠도는 소리들 속에서, 어디선가 들어본 듯한 감정이 다시 떠올랐습니다.

그 이후로 몇몇 곡들을 다시 찾아 듣기 시작했고, 어떤 계획 없이 비슷한 결을 지닌 음악들이 하나둘씩 모이기 시작했습니다.

이 리스트는 그렇게 구성되었습니다. 특정한 주제나 장르보다, 감정의 밀도와 시간의 불안정성에 반응하며 엮인 사운드의 조각들입니다.

의도하지 않았지만, 이렇게 모인 음악들은 현대 사회의 깊은 구조 속에 잠재된 시간, 기억, 상실, 정체성, 그리고 폭력과 저항의 문제들을 자연스럽게 불러냈습니다.

시간과 기억은 더 이상 선형적으로 흐르지 않기 때문에 과거의 사건은 현재 속에서 왜곡되고 재구성됩니다. 그 과정에서 미래에 대한 상상조차 이제 점점 좁아지는 양상을 보입니다.

기억은 이제 개인의 것이 아닌 사회적 시선과 권력 구조에 의해 다듬어진 감정으로 나타납니다.

정체성 또한 자율적인 결정의 결과라기보다, 외부의 언어와 시선에 의해 끊임없이 조각나고 재정의됩니다.

이렇게 우리는 자신을 ‘살아내는’ 대신, 타인의 프레임 속에서 ‘설명되기’를 요구받습니다.

이 리스트의 흐름 속에서 폭력과 죽음은 단지 개별적인 사건이 아니라, 사회 구조 속에서 반복되는 무력한 표정처럼 떠오릅니다.

저항은 무기력한 반복으로 변하고, 미래는 그 안에서 추상이 되며, 결국 휘발되어 버립니다.

여기 모인 음악들은 어떤 사회를 직접적으로 묘사하려는 것이 아닌, 오히려 그 사회 안에서 감정이 어떻게 구성되고, 무엇이 지워졌는지, 어떤 감각이 끝내 살아남는지를 천천히 되짚어보게 만듭니다.

존재의 본질을 다시 생각하게 만드는, 기억이 방향을 갖기 전의 아주 느린 저녁. 이 리스트는 메시지를 말하지 않고 질문으로 구성된 하나의 청취 경험을 제안합니다.

1. John Coltrane – Alabama [1964]
2. Cindytalk – The First Time Ever… [1990]
3. Benjamin Grosvenor – Nocturne in C-Sharp Minor, Op. Posth. [2011]
4. John Jacob Niles – Brothers Revenge [1956]
5. The Caretaker – The Sublime Is Disappointingly Elusive [2011]
6. Charlie Megira & The Bet She’an Valley Hillbillies – The Death Dance of the Busty Hot Lifeguard Instructor Babe [2009]
7. Nick Cave & The Bad Seeds – We No Who U R [2012]
8. Tom Waits – Murder in the Red Barn [1992]
9. Bob Marley & The Wailers – War [1976]
10. Bessie Smith – Dying Gambler’s Blues [1924]
11. Perfume Genius – Moonbend [2020]
12. Max Richter – The Departure [2004]
13. Ryuichi Sakamoto – Solitude [2004]
14. Scott Walker – Joanna [1968]
15. Khruangbin – May Ninth [2024]
16. Jeff Buckley – Mojo Pin [1994]
17. This Mortal Coil – Song to the Siren [1983]
18. Godspeed You! Black Emperor – The Dead Flag Blues [1997]

An Evening Before Memory Gains Direction

This playlist began with a chance encounter with Grischa Lichtenberger’s Hauntological Mixtape.
Amid the fragmented sound clips and the silence between them—sounds untethered from titles, dates, or context—a familiar emotion surfaced, something I had felt somewhere before.

From there, I began to revisit a few tracks. Without any clear plan, pieces of music with similar textures began to fall into place, one by one.

That’s how this list came togethernot through a fixed theme or genre, but as a collection of sonic fragments stitched together by shared emotional density and temporal instability.

Unintentionally, the music gathered here evokes themes of time, memory, loss, identity, and the latent violence and resistance embedded in the deep structures of modern society.

Time and memory no longer unfold linearly. Past events are distorted and reconstructed in the present, a process that narrows our very ability to imagine the future.

Memory no longer feels personal, but rather shaped by the social gaze and systems of power.

Identity, too, is no longer the result of autonomous choice, but something continually fractured and redefined by external language and perspective.

Instead of truly living, we’re increasingly explained—framed by narratives authored by others.

Within the flow of this playlist, violence and death do not appear as isolated moments, but as recurring, powerless images within societal structure.

Resistance, in turn, becomes a futile repetition—and in that repetition, the idea of a future becomes more abstract, until it eventually evaporates.

This music doesn’t attempt to depict any specific society. Instead, it asks us to slowly trace how emotions are shaped within society—what gets erased, and what sensations manage to endure.

It is an incredibly slow evening—one that asks us to reflect on the very nature of existence.
An evening before memory finds its direction.

This playlist doesn’t deliver a message; it offers a listening experience made of questions.

Tilt

서울시 마포구 연희로 1길 10 G1

G1 10, Yeonhui-ro 1-gil, Mapo-gu,

Seoul, Republic of Korea

Tilt

서울시 마포구 연희로 1길 10 G1

G1 10, Yeonhui-ro 1-gil, Mapo-gu,

Seoul, Republic of Korea

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

2025년 6월 16일 저녁 8시 — Tilt
: 김일두의 가까스로 이어진 노래들

Tilt는 새롭게 열리는 몰입형 청취 공간입니다.
감각의 방향을 되돌리고, 음악을 듣는 방식 자체를 다시 묻는 공간. 그 시작을 싱어송라이터 김일두의 음악과 함께 엽니다.

다가오는 6월 18일, 김일두와 그의 동료 MOC가 함께한 EP 〈가까스로〉가 정식 발매됩니다. 이번 청음회는 그 발매를 기념해 마련된 자리입니다. ‘간신히’ 살아가는 마음, 끝내 사라지지 않고 남는 감정들을 노래한 이 앨범은, 그의 음악을 다시 듣고 새롭게 이해하게 만드는 또 하나의 고백이기도 합니다.

이번 프로그램은 김일두가 직접 큐레이션한 곡들로 구성됩니다. 최근작을 비롯해 대표곡, 많이 소개되지 않았던 곡들, 미발표곡까지 함께 듣는 청취 중심의 시간입니다. 해설 없이 감각에 집중하는 이 구성은, 음악을 듣는 일에 다시 집중하려는 시도이기도 합니다.

청취 이후에는 짧은 환기와 함께, 김일두와의 비공식 대화가 이어집니다. 정해진 형식 없이, 음악이 남긴 감정을 나누는 편안한 자리입니다.

이 프로그램은 그의 노래처럼, 명확한 결론보다는
지금 이 순간의 감정을 함께 머물러보려는 시도입니다.

본 청음회는 무료 이벤트로, 선착순 40명 한정으로 진행됩니다.

Tilt
서울시 마포구 연희로 1길 10, G1
G1 10, Yeonhui-ro 1-gil, Mapo-gu, Seoul

진심과 해학 사이, 김일두의 언어

“있는 그대로를 노래한다는 것 – 그것이 내가 할 수 있는 전부입니다.”

김일두는 부산 원도심을 기반으로 활동해 온 싱어송라이터다. 자칭 “중구 천재”라는 말처럼 유머를 곁들이지만, 그의 음악은 유행이나 형식에 기대지 않는다. 그는 기교보다 진정성, 장르보다 태도에 가까운 음악을 지속해왔다. 스스로 말하듯, 그의 노래는 ‘살아보려는 시도’에 가깝다.

그가 말하는 사랑은 낭만에 머물지 않는다. “문제없어요”의 대담한 직설과 “마음에 쓰는 편지”의 조용한 회상 모두, 사랑을 하나의 감정이라기보다 살아가는 방식으로 제안한다. 타인을 향한 신뢰, 끝까지 남는 마음, 상처를 품은 채 지속하는 존재 방식. 그의 노래는 이와 같은 감정의 언저리를 담담하게 비춘다.

포크에서 발라드, 신스팝에 이르기까지 김일두의 음악은 끊임없이 변주되어 왔다. 그러나 변화의 중심에는 언제나 한결같은 질문이 있다. ‘지금의 나는 어떤가’, ‘나는 어떤 노래를 할 수 있는가’. 그는 이를 통해 스스로를 갱신하며, 시대와 상관없이 유효한 감정의 좌표를 찾아간다. 최근작인 〈꿈 속 꿈〉, 〈새 계 절〉, 〈몰아치는 비〉 등은 이러한 자문과 고백의 연속 위에 놓여 있다.

부산이라는 장소 또한 그의 음악에 중요한 질감을 더한다. 자갈치 시장의 풍경, 영도의 바람, 오래된 골목길의 시간은 단순한 배경이 아니라 정서의 토대다. “부산은 내 피부와 같다”는 그의 말처럼, 김일두의 음악은 장소성과 감정이 포개지는 지점에서 형성된다.

김일두의 노래는 완성된 형태보다는 하나의 고백으로 존재한다. 그 고백은 누군가를 향하지만, 동시에 자신을 향해 묻는 방식으로도 이어진다. 진심을 유지하려는 태도와 사랑을 감당하려는 의지, 그리고 변화 속에서 자신을 계속 확인해보려는 사람의 이야기가 바로 그것이다. 김일두는 그렇게, 자신의 속도를 지켜가며 노래하고 있다.

1부: 가까스로 이어진 노래들 

- 사운드의 외곽에서 남겨진 것들

1부의 청음은 중심을 비우는 사운드 편집으로 구성된다. 여기서 ‘좋은 장비’, ‘선명한 사운드’는 선택되지 않는다. 김일두에게 로우파이는 기술적 제약이 아니라 하나의 윤리다. 흐릿한 질감과 중역의 음성은 해상도의 경쟁이 아닌 감도의 독립 영역을 만든다.

이러한 방식은 곧, 자본과 기술이 집중된 영역에서 물러남으로써 지속가능한 창작 조건을 확보하는 전략이기도 하다. 스튜디오 대신 일상의 장소, 고가 장비 대신 손안의 기기. 작업은 사건이 아니라 생활의 틈에서 이어진다.

김일두의 보컬은 정면이 아닌 배경으로 물러나며, 감정은 전달되지 않고 잔향으로 남는다. 이는 과잉 표현의 시대에 청자의 감각에 더 많은 해석의 층위를 위임하는 태도다. 감정을 말하지 않고 남겨두는 방식 그 여백 속에서 더 많은 감정이 활성화된다.

이 구성은 청취자를 중심에서 밀어내고, 경계에서 사운드를 다시 듣게 만든다. 곡은 완결된 구조가 아니라 열려 있는 흔적처럼 작동하며, 정제되지 않은 감정과 불완전한 소리들은 오히려 오래 남는 감각의 조건이 된다.

2부가 정체성 해체 이후의 소리를 다룬다면, 1부는 해체 직전의 불안정한 구조와 잔류 감각을 다룬다. 

이 두 부작은 하나의 연속 서사가 아니라, ‘사라진 것의 청취’라는 공통된 기반 위에서 하나는 아날로그적 잔상으로, 다른 하나는 디지털적 해체로 각기 다른 층위를 발화한다.

-———————

2부: I AM NOT I 

김일두 / 앵겔하쉼 / 김창희 

- 자아의 소거와 잔여 감각의 청취

‘ I AM NOT I ‘는 감정 표현의 형식을 벗어난 채, 김일두의 보컬과 정체성의 잔여를 사운드로 탐색하는 실험적 프로젝트다. 

그의 목소리는 더 이상 중심에 놓이지 않으며, 시스템 내부에서 분해되고 혼합되는 음성 신호로 기능한다. 

이 작업에서 목소리는 감정을 전달하는 수단이 아닌, 피드백을 유도하는 트리거로 사용된다.

또한 곡마다 정형화된 박자나 구조 역시 등장하지 않는다. 대신, 지하철의 HUM, 서버룸의 화이트노이즈, 금속 마찰음 같은 산업적 소음이 레이어를 이루며 하나의 음향 지형을 만들어낸다. 

이러한 사운드는 일종의 ‘컷오프 공명’ 삭제된 주파수 주변에서 발생하는 잔여의 울림을 구성하며, 감각의 지연을 청각적으로 환기시킨다.

김일두는 이 앨범에서 자신의 목소리를 해체의 대상으로 삼고 감정이 더 이상 작동하지 않는 환경에서 음성이 어떤 방식으로 남을 수 있는지를 실험한다. 

그것의 물리적 흔적은, 구조 내에서 기능하는 하나의 소리로 전환된다.

그리고 그안에서 청자는 김일두의 보컬이 주체가 아닌, 그 주체가 소거된 이후의 청취자로 위치하게 된다.

June 16, 2025, 8:00 PM — Tilt
: Songs That Barely Held Together, by Kim Ildu

Tilt is a newly opened immersive listening space—
a place to reverse the direction of the senses and question how we listen to music itself.

We open this space with the music of singer-songwriter Kim Ildu.

On June 18, Kim Ildu's new EP Barely (〈가까스로〉), created in collaboration with fellow musician MOC, will be officially released. This listening session is held in celebration of that release. The album, which sings of hearts that survive "just barely," and feelings that refuse to disappear, offers a fresh understanding of Kim Ildu’s music—another quiet confession.

This program features songs personally curated by Kim Ildu himself, including recent tracks, well-known pieces, lesser-known works, and unreleased material. It is a listening-centered session, designed without commentary, encouraging participants to focus purely on the experience of sound. This choice reflects an intention to return to the act of listening as something deliberate and meaningful.

After the listening session, there will be a brief interlude followed by an informal conversation with Kim Ildu. With no set format, this time is intended simply to share the emotions the music has left behind.

Like his songs, this program does not seek a clear conclusion.
Rather, it is an invitation to dwell in the emotions of this moment, together.

This is a free event, limited to 40 participants on a first-come, first-served basis.

Tilt
G1, 10 Yeonhui-ro 1-gil, Mapo-gu, Seoul
서울시 마포구 연희로1길 10, G1

Between Sincerity and Humor: The Language of Kim Ildu

“To sing things just as they are—that’s all I can do.”

Kim Ildu is a singer-songwriter based in the old downtown area of Busan.

Though he jokingly calls himself the “Jung-gu genius,” his music does not rely on trends or form. Instead, he has continued to create music rooted more in sincerity than in technique, more in attitude than in genre. As he puts it himself, his songs are “attempts at living.”

For Kim, love isn’t confined to romantic ideals. Whether in the bold candor of No Problem or the quiet reflection of Letter to the Heart, love is presented less as a singular feeling and more as a way of being. Trust in others, feelings that remain, and the ability to carry on while bearing wounds—his songs shine a light on these quiet edges of emotion.

From folk to ballads to synth-pop, Kim Ildu’s music has constantly evolved. Yet at the center of each transformation remains a steady set of questions: “How am I right now?” and “What songs can I sing?” Through these questions, he continually renews himself, tracing coordinates of emotion that stay relevant regardless of time or trend. His recent works, including A Dream Within a Dream, New Season, and Raging Rain, rest on this ongoing cycle of inquiry and confession.

The city of Busan also lends a distinct texture to his music. The scenery of Jagalchi Market, the winds of Yeongdo, and the aged alleyways aren’t just backgrounds—they are emotional foundations. “Busan is like my skin,” he says. Kim Ildu’s music is formed at the intersection where place and feeling overlap.

Kim Ildu’s songs do not aim to be polished conclusions—they are lived confessions. These confessions reach outward to others but also inward, asking questions of the self. The effort to stay honest, the willingness to bear love, and the desire to reexamine oneself through change—this is the story he continues to tell. And Kim Ildu keeps singing, faithfully, at his own pace.

Part I: Songs Held Together, Barely

— What’s Left at the Edge of Sound

Part I begins with an arrangement that empties out the center of sound. Here, “high-end gear” and “crystal-clear audio” are deliberately left out. For Kim Il-du, lo-fi is not a technical limitation but an ethical choice. The hazy textures and midrange-heavy vocals carve out a space of sensibility, rather than competing in a race for resolution.

This approach is also a strategy—a way to step away from zones saturated with capital and technology and to create conditions for sustainable artistic practice. Instead of a studio, he uses everyday spaces. Instead of expensive equipment, devices that fit in the palm of a hand. Creation is not a grand event, but something woven through the cracks of daily life.

Kim Il-du’s voice retreats from the foreground and lingers in the background. Emotion is not delivered—it reverberates. In a time of excessive expression, this is a deliberate gesture: a way to leave space for the listener’s interpretation. By not articulating emotion directly, more feeling can emerge in what’s left unsaid.

This structure pushes the listener out of the center and asks them to hear from the periphery. The tracks don’t function as closed compositions, but as open traces. Unpolished emotions and imperfect sounds become the very conditions for a lingering sensory experience.

If Part II deals with sound after the dissolution of identity, Part I explores the unstable structures and residual sensations just before that unraveling.

These two parts do not form a linear narrative. Instead, they both emerge from a shared premise: the act of listening to what has disappeared. One speaks through analog afterimages; the other, through digital deconstruction—each articulating a different layer of loss.

Part II: I AM NOT I

Kim Il-du / Engelhaasheim / Kim Changhee

— The Erasure of the Self and Listening to What Remains

“I AM NOT I” is an experimental project that explores the remnants of Kim Il-du’s voice and identity, stripped of the conventional forms of emotional expression.

His voice is no longer at the center. It functions as a signal—disassembled and recombined within the system.

In this work, the voice does not serve as a vehicle for emotion but as a trigger for feedback.

There are no standard rhythms or song structures. Instead, industrial sounds—subway hums, server room white noise, the friction of metal—are layered to form an acoustic terrain.

These sounds generate what could be called a “cutoff resonance”—echoes that occur in the space around deleted frequencies, sonically evoking a delay in perception.

In this album, Kim Il-du subjects his own voice to a process of deconstruction, experimenting with how a voice can persist in an environment where emotion no longer functions.

The physical residue of that voice is converted into a sound that simply operates within a structure.

And in that space, the listener is no longer positioned in relation to Kim Il-du as a subject, but as someone listening after the subject has disappeared.

by FNST_SESSION

니콜라 라티 (Nicola Ratti)는 건축학적 감각과 아날로그 기반 전자음향을 결합해, 리듬을 구조적 사건으로 조직하는 밀라노 출신의 사운드 아티스트이다. 그의 작업은 반복과 미묘한 변주를 통해 최소한의 요소로 복잡한 리듬 앙상블을 만들어낸다.

대표작 'Pressure Loss'는 8개의 LFO와 필터만을 사용해 극도로 제한된 수단으로 완성된 리듬 실험이다. 각 트랙은 개별성을 유지하면서도 유기적인 하나의 흐름처럼 작동하며, 단순한 음향 구조가 거대한 공간 감각으로 확장된다. 라티는 이를 통해 리듬을 사운드 디자인이 아닌, 공간을 생성하는 동적 시스템으로 이해한다.

그의 리듬은 예측 가능한 격자 위에 놓이지 않는다. 오히려 최소한의 진동에서 발생하는 미세한 시간차와 긴장 속에 청취자의 감각을 이끄는 비격자적 구조를 설계한다. 그에게 있어 리듬은 청각의 구성물이 아니라, 시간 위에 서서히 드러나는 ‘공간적 사건’이다.

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

아오키 타카마사 (AOKI takamasa)는 소리를 조각하고 리듬을 구성하는 오사카 출신의 전자 음악가이다. 그는 음악을 구성 대신 흐름으로 다루며, 청취자의 신체가 즉각 반응하는 리듬 회로를 설계한다.

대표작 'RV8'은 프랙탈 구조의 리듬 변주를 통해, 반복 안에서 예외와 변형이 끊임없이 분기되는 감각적 지형을 만들어낸다. 곡 제목조차 숫자로만 명명되어, 사고 이전의 반응을 유도하는 ‘의미 없는 리듬’의 해방을 지향한다.

정밀함과 흔들림이 공존하는 그의 리듬은, 격자 바깥에서 살아 움직이는 유기적 패턴이며, 이는 ‘Unmapped Rhythms’가 질문하는 리듬의 본질에 가장 가까운 실천 중 하나다.

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?

by FNST_SESSION