Alexandre Herer : synths, fender rhodes

Thibault Perriard : drums

Oliver Degabriele : electric bass

Julien Pontvianne : tenor saxophone

Olivier Laisney : trumpet

经过近二十年的合作，来自法国的OXYD乐队的五位音乐家已然锻造出一种自洽且独特的音乐风格，不受单一风格类别和传统的束缚。他们的音乐重新诠释了和声、节奏和旋律，同时基于共同的身份认同，注入了成员们鲜明的个性和团队内的默契。

After nearly twenty years of working together, the five musicians of OXYD continue to pursue a deeply unclassifiable sound, free from stylistic categories and conventions. Unclassifiable because it avoids harmonic, rhythmic, and melodic clichés—or, on the contrary, because the group has seized these clichés, reappropriated them, and made them its own. Their music grows from a shared identity, shaped by individual personalities and a form of group telepathy, unconcerned with trends or labels.

人类的终结，长期以来只存在于神话和幻想之中，如今却在气候变化和社会政治紧张局势的加速下，显得愈发触手可及。OXYD的新专辑《Lapse》正是在这片黑​​暗的背景下诞生的。

The end of humanity, long confined to myth and fantasy, now feels increasingly tangible, accelerated by climate disruption and social and political tensions. It is within this dark landscape that LAPSE, the new album by OXYD, takes shape.

这张专辑融合了摇滚、当代音乐和忧郁的旋律，试图传递着人类文明不可避免的崩溃，却同时也保留了一丝复苏的曙光。
Blending rock, contemporary music and melancholic melodies, the album portrays the inexorable collapse of our civilization, while allowing a faint sense of renewal to emerge.

“《OXYD》唤起了地球生命不可避免的有限性——它的终结终将与太阳一同到来。专辑受到刘慈欣科幻作品《三体》的启发，在一种‘尚未彻底崩塌却充满挣扎’的音乐中，探讨了宇宙与人类文明的坍塌命题。末日并非毁灭或世界的终结，而是阻止终结发生的力量（神学家称之为‘阻拦者’维度）。正是这种对世界终结的延缓，使这张专辑如此深刻动人：相比阴郁厚重的氛围与强烈对比，更打动人心的是那些我们不得不跨越的隐秘悲剧的暗示。正是在这一刻，即便置身于精心营造的混沌之中，清晰感也化作了对朦胧之美的一种礼赞。”

—— Pierre Tenne，《Jazz News》，2024 年 9 月

“OXYD evokes the necessary finitude of earthly existence, whose fatal end will coincide with that of our sun. Explicitly inspired by Liu Cixin’s science fiction (The Three-Body Problem), the album questions cosmic and human collapse, in a music tormented by not being even more collapsed. The apocalypse is not the downfall or the end of the world—it is what holds it back (theologians speak of the ‘katéchon’ dimension). This retention of the end of the world is what makes the album so penetrating: more than the carboniferous atmospheres and stark contrasts, it is the suggestion of dramas we cannot help but overcome that makes Lapse resonate most strongly. It is at this point that clarity—even within carefully constructed turmoil—becomes a possible praise of penumbra.”

— Pierre Tenne, Jazz News, September 2024

“距离他们发布第一张录音作品，已经过去了十五年。这一次，‘Onze Heures Onze’ 的创始成员带来了一部全新作品，阴郁而痛苦，却拥有近乎完美掌控的戏剧结构。

OXYD 的音乐始终带着某种末世气息，而如今这种气质愈发浓烈：如果说上一张专辑描绘的是物种灭绝，那么《Lapse》则是一种对那悬在我们头顶、迟早会到来的末日的沉思与反刍。在短短 42 分钟内，这种不可逃避的坠落被高度凝练，释放出罕见的强度。

九首作品分别由不同成员创作，但整体却以无可阻挡的逻辑展开，宛如一部完整的组曲，一切都服务于戏剧效果。在这里，集体高于个人：没有任何独奏，没有任何脱离叙事的演奏时刻。

各种乐器并非相互补充，而是始终保持张力，从始至终牢牢抓住听众：Alexandre Herer 幽灵般的 Fender Rhodes 成为主线，与节奏组充满大地力量的摇滚张力形成对比（听听《Modules oubliés》开头雷霆般的鼓声吧）；Olivier Laisney 炽烈的号声，则进一步凸显了 Julien Pontvianne 萨克斯的脆弱感。而当乐队以强大的冲击力著称时，或许正是在那些平静段落中，它的力量才得以最充分地展现——比如终曲《Ecliptic》，带着葬礼进行曲般的色彩，仿佛将人类一步步引向终点。”

—— Pascal Rozat，《Jazz Magazine》，2024 年 9 月

“Fifteen years after their recording debut, the founding group of the collective Onze Heures Onze delivers a new opus, dark and tormented, with perfectly mastered dramaturgy.

There has always been something apocalyptic in OXYD’s music, and one might say it is only intensifying: while their previous album evoked the extinction of species, Lapse comes as a meditation—rumination—on that damned end of the world inevitably hanging over us, whether sooner or later. An inescapable fall, and ultimately not so long, dispatched in just 42 minutes of rare intensity.

Though the nine compositions are penned in turn by different members, they unfold with implacable logic, like a suite where everything serves the dramatic effect. Here, the collective outweighs individualities: there is not a single solo, not a single intervention that is not in service of the musical narrative. Rather than complementing each other, the instruments maintain a tension that grips from start to finish: Alexandre Herer’s ghostly Fender Rhodes, the disc’s true common thread, contrasts with the telluric rock power of the rhythm section (listen to the thunderous drum entrance at the beginning of Modules oubliés!), while Olivier Laisney’s incendiary trumpet all the more highlights the vulnerability of Julien Pontvianne’s tenor sax. And if the band often distinguishes itself by its devastating strike force, it may be in the calmer passages that its power is most fully expressed—like in the final Ecliptic, with funeral march overtones, seemingly leading humanity inexorably to its grave.”

— Pascal Rozat, Jazz Magazine, September 2024