Al les Axes
Oï les Ox
Al les Axes
Boomkat Product Review:
Nonpareil french composer Oï Les Ox dances on fractal lines of innovative brilliance and uncanny preposterousness for her 2nd studio opus, following a cult 2020 debut with The Death of Rave and a remarkable radio play that hinted at this new album’s mesmerising, multi-dimensional depth perception - a must check for fans of Teresa Winter, early Laurel Halo, The Ephemeron Loop, 0PN.
Among the most striking artists to emerge this decade, Aude Van Wyller aka Oï Les Ox necessarily explores the audness of electronic music frameworks, avant-dance musick, and displacements of contemporary songcraft in her restless reveries. Some five years since she first conceived the shocking, meticulously crafted debut ‘Crooner qui coule sous’ which incidentally (if not intentionally) echoed the oddness of 2020 lockdown, Oï Les Ox opts for a far rawer, intuitively finessed approach to her practice on ‘AL Les Axes’, allowing us to get much farther under the strange skin of her sound and into a delirious - if smartly tempered - flux of curdled arps, chanson and displaced dance-pop vox, knit with a rarely disciplined rhythmic tumult.
Like its predecessor ‘Crooner…’ and perhaps more acutely her radio play ‘Serrure relax’ (2024), this new one is another extraordinary record that will take multiple runs to really grasp. But, taken on its immediacies, it reveals a musician expressing a deep curiosity with the way shifts in technology increasingly alter, modulate the modern psyche. In her uniquely adroit hands, Oï Les Ox is caught in a tense push and pull of ceding and taking control of creative agency, balancing AI-generated lyrics and artwork with a livewire, playthru system of physical gestures and one-take recording processes that ideally capture her mercurial spirit at its most free flowing.
Across ‘AI Les Axes’ Oï les Ox appears like some savant cyberpunk existing in a multiplicity of temporalities at any given point, bifurcating between chanson and displaced dance-pop diva, holding it all together with the finest thread of logic. In the process she feels to somewhat manifest Mark Fisher’s notions on the advance of technology and modern life as a cause of schizophrenia as coping mechanism, and ultimately finds herself amid the maelstrom. Opening with the invasive ping of a mobile phone, a leitmotif that grounds the album in reality, songs veer along contorted axes of multi-temporal possibility where a 3rd track of gnostic brilliance, parsing the sacred from the profane, emerges from the discombobulation.
It’s not an easy listen, but it is vital for ears fatigued by the lack of adventure in modern avant-pop and the places where dance music jumps off into more imaginary purposes. The conviction thing is frankly startling and continues to set a benchmark for others experimenting between the fissures of established convention, cultivating new forms to challenge and defy expectations.
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Boomkat Product Review:
Nonpareil french composer Oï Les Ox dances on fractal lines of innovative brilliance and uncanny preposterousness for her 2nd studio opus, following a cult 2020 debut with The Death of Rave and a remarkable radio play that hinted at this new album’s mesmerising, multi-dimensional depth perception - a must check for fans of Teresa Winter, early Laurel Halo, The Ephemeron Loop, 0PN.
Among the most striking artists to emerge this decade, Aude Van Wyller aka Oï Les Ox necessarily explores the audness of electronic music frameworks, avant-dance musick, and displacements of contemporary songcraft in her restless reveries. Some five years since she first conceived the shocking, meticulously crafted debut ‘Crooner qui coule sous’ which incidentally (if not intentionally) echoed the oddness of 2020 lockdown, Oï Les Ox opts for a far rawer, intuitively finessed approach to her practice on ‘AL Les Axes’, allowing us to get much farther under the strange skin of her sound and into a delirious - if smartly tempered - flux of curdled arps, chanson and displaced dance-pop vox, knit with a rarely disciplined rhythmic tumult.
Like its predecessor ‘Crooner…’ and perhaps more acutely her radio play ‘Serrure relax’ (2024), this new one is another extraordinary record that will take multiple runs to really grasp. But, taken on its immediacies, it reveals a musician expressing a deep curiosity with the way shifts in technology increasingly alter, modulate the modern psyche. In her uniquely adroit hands, Oï Les Ox is caught in a tense push and pull of ceding and taking control of creative agency, balancing AI-generated lyrics and artwork with a livewire, playthru system of physical gestures and one-take recording processes that ideally capture her mercurial spirit at its most free flowing.
Across ‘AI Les Axes’ Oï les Ox appears like some savant cyberpunk existing in a multiplicity of temporalities at any given point, bifurcating between chanson and displaced dance-pop diva, holding it all together with the finest thread of logic. In the process she feels to somewhat manifest Mark Fisher’s notions on the advance of technology and modern life as a cause of schizophrenia as coping mechanism, and ultimately finds herself amid the maelstrom. Opening with the invasive ping of a mobile phone, a leitmotif that grounds the album in reality, songs veer along contorted axes of multi-temporal possibility where a 3rd track of gnostic brilliance, parsing the sacred from the profane, emerges from the discombobulation.
It’s not an easy listen, but it is vital for ears fatigued by the lack of adventure in modern avant-pop and the places where dance music jumps off into more imaginary purposes. The conviction thing is frankly startling and continues to set a benchmark for others experimenting between the fissures of established convention, cultivating new forms to challenge and defy expectations.
Boomkat Product Review:
Nonpareil french composer Oï Les Ox dances on fractal lines of innovative brilliance and uncanny preposterousness for her 2nd studio opus, following a cult 2020 debut with The Death of Rave and a remarkable radio play that hinted at this new album’s mesmerising, multi-dimensional depth perception - a must check for fans of Teresa Winter, early Laurel Halo, The Ephemeron Loop, 0PN.
Among the most striking artists to emerge this decade, Aude Van Wyller aka Oï Les Ox necessarily explores the audness of electronic music frameworks, avant-dance musick, and displacements of contemporary songcraft in her restless reveries. Some five years since she first conceived the shocking, meticulously crafted debut ‘Crooner qui coule sous’ which incidentally (if not intentionally) echoed the oddness of 2020 lockdown, Oï Les Ox opts for a far rawer, intuitively finessed approach to her practice on ‘AL Les Axes’, allowing us to get much farther under the strange skin of her sound and into a delirious - if smartly tempered - flux of curdled arps, chanson and displaced dance-pop vox, knit with a rarely disciplined rhythmic tumult.
Like its predecessor ‘Crooner…’ and perhaps more acutely her radio play ‘Serrure relax’ (2024), this new one is another extraordinary record that will take multiple runs to really grasp. But, taken on its immediacies, it reveals a musician expressing a deep curiosity with the way shifts in technology increasingly alter, modulate the modern psyche. In her uniquely adroit hands, Oï Les Ox is caught in a tense push and pull of ceding and taking control of creative agency, balancing AI-generated lyrics and artwork with a livewire, playthru system of physical gestures and one-take recording processes that ideally capture her mercurial spirit at its most free flowing.
Across ‘AI Les Axes’ Oï les Ox appears like some savant cyberpunk existing in a multiplicity of temporalities at any given point, bifurcating between chanson and displaced dance-pop diva, holding it all together with the finest thread of logic. In the process she feels to somewhat manifest Mark Fisher’s notions on the advance of technology and modern life as a cause of schizophrenia as coping mechanism, and ultimately finds herself amid the maelstrom. Opening with the invasive ping of a mobile phone, a leitmotif that grounds the album in reality, songs veer along contorted axes of multi-temporal possibility where a 3rd track of gnostic brilliance, parsing the sacred from the profane, emerges from the discombobulation.
It’s not an easy listen, but it is vital for ears fatigued by the lack of adventure in modern avant-pop and the places where dance music jumps off into more imaginary purposes. The conviction thing is frankly startling and continues to set a benchmark for others experimenting between the fissures of established convention, cultivating new forms to challenge and defy expectations.
Boomkat Product Review:
Nonpareil french composer Oï Les Ox dances on fractal lines of innovative brilliance and uncanny preposterousness for her 2nd studio opus, following a cult 2020 debut with The Death of Rave and a remarkable radio play that hinted at this new album’s mesmerising, multi-dimensional depth perception - a must check for fans of Teresa Winter, early Laurel Halo, The Ephemeron Loop, 0PN.
Among the most striking artists to emerge this decade, Aude Van Wyller aka Oï Les Ox necessarily explores the audness of electronic music frameworks, avant-dance musick, and displacements of contemporary songcraft in her restless reveries. Some five years since she first conceived the shocking, meticulously crafted debut ‘Crooner qui coule sous’ which incidentally (if not intentionally) echoed the oddness of 2020 lockdown, Oï Les Ox opts for a far rawer, intuitively finessed approach to her practice on ‘AL Les Axes’, allowing us to get much farther under the strange skin of her sound and into a delirious - if smartly tempered - flux of curdled arps, chanson and displaced dance-pop vox, knit with a rarely disciplined rhythmic tumult.
Like its predecessor ‘Crooner…’ and perhaps more acutely her radio play ‘Serrure relax’ (2024), this new one is another extraordinary record that will take multiple runs to really grasp. But, taken on its immediacies, it reveals a musician expressing a deep curiosity with the way shifts in technology increasingly alter, modulate the modern psyche. In her uniquely adroit hands, Oï Les Ox is caught in a tense push and pull of ceding and taking control of creative agency, balancing AI-generated lyrics and artwork with a livewire, playthru system of physical gestures and one-take recording processes that ideally capture her mercurial spirit at its most free flowing.
Across ‘AI Les Axes’ Oï les Ox appears like some savant cyberpunk existing in a multiplicity of temporalities at any given point, bifurcating between chanson and displaced dance-pop diva, holding it all together with the finest thread of logic. In the process she feels to somewhat manifest Mark Fisher’s notions on the advance of technology and modern life as a cause of schizophrenia as coping mechanism, and ultimately finds herself amid the maelstrom. Opening with the invasive ping of a mobile phone, a leitmotif that grounds the album in reality, songs veer along contorted axes of multi-temporal possibility where a 3rd track of gnostic brilliance, parsing the sacred from the profane, emerges from the discombobulation.
It’s not an easy listen, but it is vital for ears fatigued by the lack of adventure in modern avant-pop and the places where dance music jumps off into more imaginary purposes. The conviction thing is frankly startling and continues to set a benchmark for others experimenting between the fissures of established convention, cultivating new forms to challenge and defy expectations.
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Boomkat Product Review:
Nonpareil french composer Oï Les Ox dances on fractal lines of innovative brilliance and uncanny preposterousness for her 2nd studio opus, following a cult 2020 debut with The Death of Rave and a remarkable radio play that hinted at this new album’s mesmerising, multi-dimensional depth perception - a must check for fans of Teresa Winter, early Laurel Halo, The Ephemeron Loop, 0PN.
Among the most striking artists to emerge this decade, Aude Van Wyller aka Oï Les Ox necessarily explores the audness of electronic music frameworks, avant-dance musick, and displacements of contemporary songcraft in her restless reveries. Some five years since she first conceived the shocking, meticulously crafted debut ‘Crooner qui coule sous’ which incidentally (if not intentionally) echoed the oddness of 2020 lockdown, Oï Les Ox opts for a far rawer, intuitively finessed approach to her practice on ‘AL Les Axes’, allowing us to get much farther under the strange skin of her sound and into a delirious - if smartly tempered - flux of curdled arps, chanson and displaced dance-pop vox, knit with a rarely disciplined rhythmic tumult.
Like its predecessor ‘Crooner…’ and perhaps more acutely her radio play ‘Serrure relax’ (2024), this new one is another extraordinary record that will take multiple runs to really grasp. But, taken on its immediacies, it reveals a musician expressing a deep curiosity with the way shifts in technology increasingly alter, modulate the modern psyche. In her uniquely adroit hands, Oï Les Ox is caught in a tense push and pull of ceding and taking control of creative agency, balancing AI-generated lyrics and artwork with a livewire, playthru system of physical gestures and one-take recording processes that ideally capture her mercurial spirit at its most free flowing.
Across ‘AI Les Axes’ Oï les Ox appears like some savant cyberpunk existing in a multiplicity of temporalities at any given point, bifurcating between chanson and displaced dance-pop diva, holding it all together with the finest thread of logic. In the process she feels to somewhat manifest Mark Fisher’s notions on the advance of technology and modern life as a cause of schizophrenia as coping mechanism, and ultimately finds herself amid the maelstrom. Opening with the invasive ping of a mobile phone, a leitmotif that grounds the album in reality, songs veer along contorted axes of multi-temporal possibility where a 3rd track of gnostic brilliance, parsing the sacred from the profane, emerges from the discombobulation.
It’s not an easy listen, but it is vital for ears fatigued by the lack of adventure in modern avant-pop and the places where dance music jumps off into more imaginary purposes. The conviction thing is frankly startling and continues to set a benchmark for others experimenting between the fissures of established convention, cultivating new forms to challenge and defy expectations.
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