Alexandre Herer : synths, fender rhodes

Thibault Perriard : drums

Oliver Degabriele : electric bass

Julien Pontvianne : tenor saxophone

Olivier Laisney : trumpet

經過近二十年的合作，來自法國的OXYD樂隊的五位音樂家已然鍛造出一種自洽且獨特的音樂風格，不受單一風格類別和傳統的束縛。他們的音樂重新詮釋了和聲、節奏和旋律，同時基于共同的身份認同，注入了成員們鮮明的個性和團隊內的默契。

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.

人類的終結，長期以來只存在于神話和幻想之中，如今卻在氣候變化和社會政治緊張局勢的加速下，顯得愈發觸手可及。OXYD的新專輯《Lapse》正是在這片黑??暗的背景下誕生的。

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.

這張專輯融合了搖滾、當代音樂和憂郁的旋律，試圖傳遞著人類文明不可避免的崩潰，卻同時也保留了一絲復蘇的曙光。
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》喚起了地球生命不可避免的有限性——它的終結終將與太陽一同到來。專輯受到劉慈欣科幻作品《三體》的啟發，在一種‘尚未徹底崩塌卻充滿掙扎’的音樂中，探討了宇宙與人類文明的坍塌命題。末日并非毀滅或世界的終結，而是阻止終結發生的力量（神學家稱之為‘阻攔者’維度）。正是這種對世界終結的延緩，使這張專輯如此深刻動人：相比陰郁厚重的氛圍與強烈對比，更打動人心的是那些我們不得不跨越的隱秘悲劇的暗示。正是在這一刻，即便置身于精心營造的混沌之中，清晰感也化作了對朦朧之美的一種禮贊。”

—— 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

“距離他們發布第一張錄音作品，已經過去了十五年。這一次，‘Onze Heures Onze’ 的創始成員帶來了一部全新作品，陰郁而痛苦，卻擁有近乎完美掌控的戲劇結構。

OXYD 的音樂始終帶著某種末世氣息，而如今這種氣質愈發濃烈：如果說上一張專輯描繪的是物種滅絕，那么《Lapse》則是一種對那懸在我們頭頂、遲早會到來的末日的沉思與反芻。在短短 42 分鐘內，這種不可逃避的墜落被高度凝練，釋放出罕見的強度。

九首作品分別由不同成員創作，但整體卻以無可阻擋的邏輯展開，宛如一部完整的組曲，一切都服務于戲劇效果。在這里，集體高于個人：沒有任何獨奏，沒有任何脫離敘事的演奏時刻。

各種樂器并非相互補充，而是始終保持張力，從始至終牢牢抓住聽眾：Alexandre Herer 幽靈般的 Fender Rhodes 成為主線，與節奏組充滿大地力量的搖滾張力形成對比（聽聽《Modules oubliés》開頭雷霆般的鼓聲吧）；Olivier Laisney 熾烈的號聲，則進一步凸顯了 Julien Pontvianne 薩克斯的脆弱感。而當樂隊以強大的沖擊力著稱時，或許正是在那些平靜段落中，它的力量才得以最充分地展現——比如終曲《Ecliptic》，帶著葬禮進行曲般的色彩，仿佛將人類一步步引向終點。”

—— 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