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Oxygene 14: I wanted to start with a hypnotic repetitive beat, with only one or two elements growing constantly until merging into the next part

Oxygene 15: is the most minimalist part based on a constant variation of one sound, the sound of the bass sequence, which is constantly on the edge of either being contained or exploding…

Oxygene 16 is more epic – based on a continuous bass line on which some melodic strings are developing and above all, lots of sound effects are constantly breaking the track until the darker ending maelstrom…

Oxygene 17 is the first bright moment of the album: I wanted to create a groove with the melodic part on its own and to also create the real feel of a spacey trip – which is what Oxygene is all about – and with minimalist drums. What made and makes Oxygene different, is probably that an important part of the sound is made of white noise creating a hazy atmosphere. It is ironic to think back in time when everybody was obsessed by improving the signal to noise ratio, that I used so much noise as part of my music…

Oxygene 18 is composed of 3 elements, evoking the weightlessness and stillness of space…

Oxygene 19 is the track that triggered the entire project – the sound of the melody is close to Oxygene 4. ‘Extreme Wave’ was the working title, as I had in mind a space-surfer, surfing on one gigantic organic wave…

Oxygene 20: I had the idea in mind to finish this entire 40 minute trip in an unknown vital space, with a track carrying no proper melody, but some harmonic layers, lost in the wind, evolving slowly in a kind of elevation and burning in the dust…

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