Mar 312016

We are back from a brief hiatus and bring you an exciting new release:

NM073: GLICE – FLEISCH (tape / digital)

Fleisch is the new release by the Dutch noise formation Glice. To celebrate their performance at this year’s Rewire Festival in The Hague on April 1 2016, Narrominded will release Fleisch as a limited cassette tape (50 copies, with two sleeve variants) and digitally.

Although the band had been in dormant existence for more than half a decade, Glice reared its head loudly in 2015 with the album LIX, to much critical acclaim. The filmic noise of Glice, filled with a keen sense of texture and drama, opened many ears to a genre that is often perceived as inaccessible and difficult.

Fleisch will not disappoint the fans of LIX: it is a roaring beast of a record. Contrasting textures fight for supremacy, intense tidal waves of sound are powerful enough to crush the listener.

Fleisch is the first is a series of recording documenting the live performances of Glice. The result however is far from a realistic registration of a concert: Fleisch is made of fragments and bits of performances throughout the past year, woven together into new music.


(also available on Spotify, Deezer, iTunes, Google Play Music, Tidal, etc.)

Press on LIX:

LIX sounds ecstatic […] You won’t hear much better than this in 2016.

Theo Ploeg, Gonzo (circus)

A very beautiful and promising album […] that tells that Glice has a distinct style, palette of sounds and musical vision up its sleeve.

Peter Bruyn, FRNKFRT

From the first seconds it grasps you and pulls you down under in creepy soundscapes and nasty noise pieces.

Revolutions Per Day

LIX is about subjection; it goes right through you like radiation and it surrounds you completely.

Sven Schlijper, Kindamuzik

Noisy sounds with a psychdelic twist.


Gonzo (circus) end of year lists 2015:

Glorious industrial textures and sounds. – Hugo Emmerzael

The best album I’ve heard in a long time. – Theo Ploeg

The soundtrack of 2015. – Lars Meijer

Glice live

Friday April 1

Rewire festival // Prins 72 – The Hague // 22:15 hrs

Sunday April 17

Manupalooza festival // OCCII – Amsterdam

Friday May 14

Incubate festival // 013 – Tilburg

Saturday June 11

Sneeuw en Ruis festival // Vechtclub XL – Utrecht

That’s it for now!

All the best from us at

Mar 262016



Soon after the pleasant review of two recent solo albums, “Sinkai” released by Arctic Tone and “Semi-Lattice” on Baskaru, we had a chat with Critical Path founder Yui Onodera. If you are a lover of experimental and minimalist ambient/drone sonorities, I strongly recommend listening to the above-mentioned releases, as well as some of Yui’s past output.


Chain D.L.K.Hi, Yui! How are you?

Yui Onodera: I’m good, but I broke my shoulder last month after drinking too much. I am ashamed of myself.


Chain D.L.K.You are not a newcomer on the scene of electronics…before speaking of your older tracks, can you tell us something about the birth of this passion for sound?

Yui Onodera: Maybe you’re expecting an answer like I started by playing a toy guitar that my father bought me when I was three years old, but that’s not the case. My parents were indifferent to the cultural arts such as music, film, and literature, so I grew up without that influence in my home environment. Instead, I would go out exploring and observing insects, or I would draw a lot. At that time, I wanted to be a painter or an entomologist. The first sound that caught my attention was the chirp of a grasshopper, which more precisely comes from the grasshopper’s wings. I didn’t enjoy studying, but would get excellent grades in science during elementary school.


Chain D.L.K.
Do you remember the very first sound you made by means of machines, or the first one you grabbed through microphones?

Yui Onodera: The first instrument I ever picked up was the guitar, at around 13 years old. At that time, I was infatuated with Japanese rock music and wanted to perform myself. After that I entered a music school, majoring in guitar, that Masayuki Takayanagi, one of the leading figures of Japanese free-jazz guitar, had previously taught at. However, I was not interested in the role music where entertainment takes the lead, just interested in personal compositions that used computers, especially as it was a period when computers had become able to handle audio files freely, so I was able to explore the possibilities of the guitar whilst using the computer I had become so passionate about. At the same time, I was migrating to an interest in Derek Bailey, Otomo Yoshihide, John Cage, Stockhausen, etc., and that expanded the new possibilities of music.


interview picture 1Chain D.L.K.You are Japanese! Nihongo wo hanaso!

Yui Onodera: OK, sure. Sushi, Samurai, etc..


Chain D.L.K.I’m joking…I don’t really understand Japanese…what Japanese word has a meaning that would never be understood by someone outside of Japan, in spite of he/she knowing some Japanese words?

Yui Onodera: When I work with non-Japanese people on collaborations or work, there are Japanese concepts that I can’t explain well, like Zen. I can grasp that John Cage was influenced by Zen philosophy but, whilst there are many people that can understand the music of John Cage, very few understand the idea of Zen.


Chain D.L.K.According to an old cliche, Japanese musicians used to be good emulators of Western musicians… do you think that such a cliche was realistic or not?

Yui Onodera: Yes. Even now, it’s prominent in pop music and independent music scenes. Many Japanese musicians are desperate to chase the American and European trends. It was imitated so well that it became the criteria for evaluation, but I have no interest in those things. Around 2004, when I thought about composing my first works, I worked with self-awareness about that problem; it was about myself. Born and raised in Japan, I grew up listening to more European and American music than the music of Japan, so instead of imitating in Japan, I searched for the thing I could do by being Japanese. So I thought that if I did not include Japanese lyrics, I could transmit that not only within Japan, but internationally. As a result of this, the first people interested in my music were not Japanese, but the people of Europe and America.


Chain D.L.K.Thanks for letting me hear your release “Sinkai”, but the very first time my ears heard your sound was on the occasion of a collaboration you made with Celer in 2010, and lately a collaborative track for Norwegian duo Pjusk… it’s quite funny that the circumstance I always met you in where in the middle of duets, as Celer is a duo as well! 🙂

Yui Onodera: You’re welcome. That’s true, I did not notice that. It is not just by chance. I just finished a collaboration with solo artists Scanner (aka. Robin Rimbaud) and Chihei Hatakeyama.


Chain D.L.K.First of all, would you say there are some releases which could help listeners to have a better idea of the main aspects of your sound?

Yui Onodera:  Yes. The album “Suisei”, a single track of environmental sound and organ, was released by an American label, and by OAR in 2007. “Suisei” means “aqueous” in Japanese. Then, there were a number of works announced by labels in Europe and the United States. My first album on CRITICAL PATH, 2005’s “ENTROPY”, was reissued in 2009. They are already sold out, but recently can be purchased from my Bandcamp, Also, I worked on the production of an electronic music and sound art themed 2-disc compilation album, “VERNACULAR”, a few years ago, You may want to refer to the Discogs for others.


Chain D.L.K.In spite of having been on the stage for 10 years or so, maybe, “Suisei” was your first solo album, wasn’t it? Do you prefer solo-playing or collaborations?

Yui Onodera: I’m always trying to grow by having the correct balance between solo work and collaboration. Becoming too biased either way will narrow my perspective. I find both methods to be involved with each other. For example, ideas and production techniques that were experimented with in collaborations can be applied to my solo work, and vice versa. Collaborators always give me many new perspectives and challenge me. I am also actively in cooperation with architects and other specialist areas, such as dancers, as well as those in the music field. This is because other areas such as architecture, literature and art always provide the inspiration for my music.


Chain D.L.K.…and do you prefer focusing on yourself, on sound or on the way a listener could perceive your sound and/or yourself while making music?

Yui Onodera: Maybe. My music would demand naturally active listening as it is composed of a set of the fine detail of swells and small sound. On the other hand, it can function as an ambiance as well.


Chain D.L.K.Can you introduce “Sinkai” in your own words?

Yui Onodera: In 2013, I visited Europe for the Storung Festival, an audio/visual festival held in Barcelona, and met PJUSK. Through participating in their albums and deeply understanding their music, I found many parts of their music to be empathetic to the musical characteristics and aesthetics of Northern Europe. My hometown is a place called Iwate, located in the north of Japan. It’s extremely cold in the winter and gets a lot of snow. Perhaps it was the earliest source of evoking something within me; a snowy, cold sound in the silence. By the way, “sinkai” stands for “deep sea” in Japanese.


Chain D.L.K.
: There are many moments I really enjoyed in this record, but speaking in general, I like the way you balanced seemingly organic and mechanical sounds… a feature that brings me back to another cliche related to Japanese as the culture that, more than others, seems to look for a perfect balance – I’d call it a harmonic symbiosis – of nature and technology… would you say the sound of “Sinkai” was somehow influenced by this aspect of Japanese culture?

Yui Onodera: My favourite Japanese anime director is Hayao Miyazaki. Do you know his work, “Princess MONONOKE”? It is a human drama that depicts the conflict between nature and technology (civilization). Yes, it’s true that there is a traditional concept that we have the idea that there is a soul in all things and we all coexist, but now it can no longer be said to be the typical mindset of the Japanese. As with many young people around the world, more of the laptop and the online world, the presence of forests and rivers have become more and more accessible and are an environment for calm. Certainly, I feel that was a perceived representation of the Japanese, as many European and American critics, who reviewed my past work, remarked on it. I also might have been influenced by it as a Japanese person. But now, rather than that kind of oriental image, I’m more interested in the reality of Orientalism. For example, with the joint work “Generic City”, with Celer, I contributed field recordings of the miscellaneous urban environments of Tokyo to resemble an artificial jungle, rather than the beautiful sound of nature (river trickles and rain). To me, the varied speculation of confined spaces of Tokyo city is more expressive of the modern Japanese mind.


Chain D.L.K.The intro of “Sigure” seems to anticipate the entrance into a dream-like world…is there a recording of someone sleeping in the very first seconds, or did you trick my ears? 🙂

Yui Onodera: Thank you! It’s the sound of a guitar!


Chain D.L.K.
Many musicians say that the inspiration for some tracks or some tunes can only come once…are there any circumstances or sounds for inspiration which fed some moments in “Sinkai” that could never come again?

Yui Onodera: “Mon” from “Sinkai” was the first track completed for the album when it was finished; we were able to imagine the whole image for the release. “Mon” means “gate” in Japanese. It is a doorway that separates the external and internal. Literally, it became the introduction to this album.


interview picture 2

Chain D.L.K.: The cover artwork of “Sinkai” is amazing as well… what’s the connection to Sinkai’s sound in your own words?

Yui Onodera: Thank you. The artwork is by photographer and musician Nozom Yoneda, and he has worked on all of my most recent albums, including “SEMI LATTICE”. In most cases, we would select the photo that matches the album image from his work collection. At the time, the overall picture of the album had been almost completed. In many of his works, they are close-ups shot from close range. They appear to be very mysterious in spite of the use of familiar material, such as a wall or the ground.


Chain D.L.K.I recently received “Semi Lattice”, another very good output by Baskaru as well as your second solo album…can you tell us something about that as well?

Yui Onodera: At that time, I was working as an architectural acoustic designer. It was not only the physical handling of sound through the architectural acoustics design; I developed a deep interest in introducing thought and design process, outside of the musical field, to my sound, such as how architects know theory and aesthetics.


Chain D.L.K.It draws inspiration from an abstract structure by Christopher Alexander… how did you render that structure?

Yui Onodera: “Semi Lattice” was inspired by an architectural theory advocated by urban planner Christopher Alexander where, rather than developing the perspective of a bird’s-eye view, or an image from one point of view, there is an overlap from the myriad of assembly that feature duplication and change that develop in accordance with the changes of time. As much as possible, I tried to make the “situation” that resembled the abstract individual elements similar to the process in which biological functions and cities are generated, with sound.


Chain D.L.K.An obvious question… you made two solo-albums in a relatively short period… when are you going to give birth to the third one?

Yui Onodera: The most recent release is ‘SEMI LATTICE’, but it was written before ’Sinkai’, so it may confuse some listeners. I’ve just started working on ideas for a new album that will possibly become more of a chaotic release, so it will probably alienate more listeners, but it feels insincere to repeat techniques. For me, more than a success, or a failure, I feel like an album should be an attempt at something new. Honesty and individuality is equally important for all albums.


Chain D.L.K.You are the founder of the Critical Path label… any anticipation of further steps for the label?

Yui Onodera: For some time already, CRITICAL PATH hasn’t been functioning as a label, but currently working on a production. I’m taking advantage of this platform to explore various fields of sound, such as sound design within architectural or public spaces. Since the very beginning, I’ve always been interested in the capabilities and new possibilities of sound.


Chain D.L.K.Any other work in progress?

Yui Onodera: I will be involved with several compilation albums that are soon to be announced, featuring the collaborative work with Scanner and Chihei Hatakeyama that I mentioned before. In April, there is Japan tour scheduled for my friends PJUSK and CHRA, so I’ll be busy preparing for that. Additionally, I’ve just started a collaboration with the American sound artist, Stephen Vitiello.

visit Critical Path on the web at:

Mar 262016


Soon after the release of “No No” for 1080p, which launched the tape version, and Software Recordings (vinyl and digital versions), we had the chance to get to know Baltimore-based Matt Papich, the brain behind the curtains of Co La. His funny, oblique sonorities and stylistic mimicry could be thought of like the jerky movements of an actor who is trying to cover a wide range of human drama from behind the curtain, in between the audience and the contemporary stage of the modern world. Matt’s amazing investigation of the sensual and emotional aspects of terrestrial life, according to the introductory words attached to this record, manages to act like a fun-house mirror by rendering an oddly emotional and alien dimension. Check out Co La’s interesting sonic emulsions for yourself!

interview picture 1

courtesy of Andrew Strausser

Chain D.L.K.: Hiya Matt! How are you?

Co La: Hi, I’m good.


Chain D.L.K.: So you combed your hair…it might seem like a stupid question, but I think the relationship between a person and their own hair is very important…what’s yours like?

Co La: I love going to the barber. The track ‘Make It Slay’ from Moody Coup is my barbershop track – it’s made up of scissors and saxophone, and big, doom-inducing impact sounds. My hair is commented on fairly often, because of the color. I’ve realized more and more how much meaning has been given to red hair in pop culture – in cartoons, there are almost always redheads, and they are often the villain. In Norman Rockwell’s work, redheads play a constant role.


Chain D.L.K.: Who was Matt Papich before Co La? Who was Matt Papich after Co La?

Co La: My outward interests have changed, but the questions and investigations have stayed more or less the same. My practice is fluid; I’ve always worked with sound, flavor, and spatial art – sometimes simultaneously, other times discreetly.


Chain D.L.K.: Did Baltimore influence your brainchild in one way or another?

Co La:  I’ve lived in Baltimore for most of my adult life, so yes, I do think it influences my work. The radio here – 92Q, is a constant inspiration. Club music and clubs like The Paradox have steered me dramatically. The DIY scene is also always changing and thriving; I try to keep up with it, and this influences how my music functions and what it means.


Chain D.L.K.: Would you label Co La’s style as deranged club music?

Co La: Yes, I think deranged is an apt word, for this new music especially.


interview picture 2

courtesy of Andrew Strausser

Chain D.L.K.: I’ve read many interesting things about the idea behind No No, but it’s better to let the author speak about such a delicate matter…can you explain it?

Co La: No No is an anxious record for me. I made it over a 6-8 month period when I had dismantled some of the primary structures in my life, domestically, in relation to work and personally. So it reflects that in some ways, and it deliberately pushes to extremes – I wanted to make something that would be even distasteful in a way. It’s dance music in Baltimore, but in most other places, it is deeply experimental and outlandish. Its surface is slick and mostly cold – but, I think there is also a kind of humor in this record that did not exist before in my work; it becomes more apparent with time as the initial reactions wear away.


Chain D.L.K.: What’s the strangest sample you inserted into No No?

Co La: In my opinion, none of the samples are so strange on their own. The uncanny feeling comes from combinations, where memory and expectation are both playing a role – when the listening process includes both clarification and confusion at once.


Chain D.L.K.: …and the most difficult to recognize?

Co La: There are quite a few samples of old hard drives starting up and spinning. I would imagine those are unrecognizable to many people.


Chain D.L.K.
: I’ve also read that No No was partially inspired by the American news cycle and the so-called  f5 syndrome…are you planning any updates related to forthcoming presidential elections?

Co La: Well, there are more songs from the same era, songs I’ve used in live performances or mixes…I’m kind of watching the potential meaning of those songs shift. They are slippery right now – I can imagine them making sense soon.


Chain D.L.K.: Which sample would you attach to each candidate to the supposedly highest function in the U.S.?

Co La: I don’t really think of samples that way. But, I’d say the candidate I’d most like to sample is Sanders.


Chain D.L.K.: While listening to some of your stuff in No No, older, seemingly abstract collages came to my mind…I could mention Tal, Bisk, The Rip-Off Artist…first of all, would you consider Co La’s output an abstract work?

Co La: It is abstract, this record especially – it barely relies on melody, and emotionally it’s obtuse. No No can be very functional, though; performing sets of this material is intense, as the audience becomes involved in enacting a narrative in a way. It’s a journey set.


Chain D.L.K.: Any past releases that you could consider somehow related to “No No”?

Co La: I don’t think about that so much.


interview picture 3

courtesy of Andrew Strausser

Chain D.L.K.: Some consider “No No” as an investigation into terrestrial life…do you consider yourself a sort of alien?

Co La: I’m told I am an alien, but I feel very stable on earth.


Chain D.L.K.
: Why did you match sequences of bubbling water to “Barricade”?

Co La: Barricade is a formal track, and it functions well as a club track – for dancing. So, it’s a formal approach really, making a construction. The bubbles samples make us want to move as they sound, and it opens the room up for bodies to move. With the kick drum occupying such low frequencies, the bubbles have a kind of uncanny effect; they help shift our perception of the room.


Chain D.L.K.: One of my favorite tracks is “Noon (Blue)”…could you describe its elements in more detail?

Co La: Noon opens with an Alto Saxophone…a drum kit that is made of pressure relief sounds and some kick drums…there is a classical guitar Kontakt instrument…samples of dogs barking…field recordings I made of driving and listening to gospel radio in Baltimore…there are guitar harmonic samples from an electric guitar…. an Ableton Latin drum kit playing rolls….


Chain D.L.K.: Are you going to make videoclips for some tracks of “No No”?

Co La: We’ve made some, teasers in a way. A longer video piece called Shrink will be released soon; its a companion to the album in some ways.


Chain D.L.K.: Have you performed it on live stage yet?

Co La: Yes, in Baltimore, NY, LA, Portland, and Seattle.


Chain D.L.K.: Any work in progress???

Co La: Always!!


visit Co La’s soundcloud at:

Mar 222016

Foretaste’s new album called Space Echoes will finally be released next September – no worries it will be worth the wait!

To keep you waiting the new single Lost in Space will be released in late April/early May. A CD limited edition will be released and will feature 2 exclusive tracks and remixes of the forthcoming album tracks.

Like for previous albums, XX & XY have chosen a central theme for this new album: Space and science fiction. Fans of classic American Sci-Fi literature are in for a treat.

A few months ago we told you that Foretaste’s Soft and delicate was part of the Soundtrack of exploitation movie 120/80 Stressed to kill with Armand Assante. The movie has now started its theatrical career in the USA and will soon be distributed over Europe.

HAPPINESS PROJECT: NEW ALBUM ON THE WAY!The trio is hard at work on the follow-up album to 9th heaven. The production work has already started with Dekad’s J.B. and Celluloide’s Member U-0176. Stay tuned…


Numériques (3) is still available on our website for all owners of Celluloide’s website Members Area access.

If you are not a member, you still have a new opportunity to get access by purchasing one of the remaining copies of L’Amour est Geométrique.

Video clip of ‘Le baiser géométrique’ was included in Sonic Seducer’s 2015 retrospective DVD in

Mar 212016
… is back with a vengeance
after 4 years of radio silence!
Hyboid’s third solo release…
A high-voltage Space Öpera!


12 tracks on double 180g 12″ vinyl, filled to the brim
with electronic space music
programmed, sequenced and played
on real oldschool vintage synths,
sequencers and drummachines!
Along with the regular 2×12″ BLACK VINYL EDITION(350 copies)
you are getting the opportunity to purchase the

and super-cool A1 GIANT POSTER designed by Rolly Rocket!
exclusively available in my own shops at:


The regular BLACK VINYL EDITION is available here:

The MP3 version can be purchased and downloaded at: (available now) (release date March 21) (release date next week)
iTunes (release date next week)
Spotify (release date next week)
More related links:
Hyboid on Soundcloud
really nerdy Astro Chicken Blog with
a detailed and very technical 
“making of Terrör of the Üniverse”!