caribbean
There’s also a sense of intimacy in the way Oxia chooses collaborators: friends from his own city, artists who share his orbit not just musically but personally.
“Yannick is a long-time friend, and we live in the same city, so we see each other often. We listen to each other’s music and sometimes come up with ideas that turn into collaborations, like the two tracks he contributed to. On one of them, ‘Silk & Fur’, we actually sang ourselves, but weren’t totally comfortable with our vocals. So we asked Hacène (another artist from our city) to re-record them. He also added a second part to complete the lyrics and brought something unexpected that really elevated the track.”
Even when working with vocalists, the choices came from trust and shared history rather than industry calculation.
“With Hen Wen, who’s a friend from my hometown, we had talked for a long time about collaborating. When I finished the instrumental, I felt her voice would be perfect. She wrote the lyrics, and that became ‘Calling The Sun’.”
What ties these partnerships together is the way they expand Oxia’s universe without diluting it. Each voice, each idea, stretches the emotional palette of Aelle while keeping its center intact.
“All these collaborations brought something extra. Each of them added a part of their own universe to mine, and that’s the beauty of working with other artists.”
Listening to Aelle straight through, it becomes clear this isn’t just a collection of tracks thrown together. It breathes like a story, carrying the listener through peaks and valleys, tension and release. That wasn’t an accident, even if the final flow took time to uncover.
“I take that as a compliment, so thank you for noticing. I wouldn’t say the tracklist came together completely naturally, I actually tried several versions before finding the right flow. I wanted to alternate the more energe- tic tracks with the softer, more intimate and introspective ones, so that the album feels like a journey through different moods and emotions. It wasn’t about designing it like a DJ set, it was more about creating a balance that makes sense when you listen from start to finish.”
That balance is what makes Aelle resonate. It carries the architecture of a night out but also the intimacy of a solitary listen. It feels cinematic without losing its club pulse, a rare hybrid that reflects Oxia’s decades of experience. The album isn’t just music for a moment, it’s an invitation to stay inside its world.
Every album carries its own pressure, but for Oxia the challenge with Aelle was clear: avoid repetition and push himself into corners he hadn’t yet explored. Singles and EPs can be laser-focused on the floor, but an album requires a wider lens, a willing- ness to show sides of yourself that might never make it into a peak-time set.
“Every
don’t want to repeat myself. It’s very diffe- rent from making a single or an EP for the dancefloor. On an album, you can explore ideas you wouldn’t normally go for, more intimate or introspective tracks. I always try to push my sound forward while staying true to what defines me as an artist. Working on Aelle reminded me why I still love making music after all these years. The excitement of creating something new, experimenting with different moods, and seeing how a track can evolve in ways I didn’t expect.”
That’s the essence of longevity: not cha- sing trends but staying curious, allowing the process itself to renew the spark. Ae- lle became more than a return, it was a re- minder of why Oxia is still here, shaping the conversation two decades on.
Oxia has never been a stranger to big moments. His Cercle set reached over a million views in days, and “Domino” has quietly built into a modern classic with more than 150 million streams. But while those milestones put him in front of a global audience, he sees albums as so- mething different entirely, a format that resists the quick dopamine of viral culture.
“Streaming a live set like my Cercle performance is similar
immediate, and you see the reaction right away. Domino reaching around 150 million streams is a big milestone for me, but even that took years. That track is a bit special and it’s become a classic over time. An album is different.
term. You want people to take their time with it, even if that means listening over several years. You want the album to stand the test of time, which is why many of the tracks have a more timeless quality. And it also gives me space to explore different moods and sides of my music that singles or viral moments often can’t. It’s just a different kind of expression.”
That patience is rare in a world where DJs can rise or fall on a single track’s algorithmic luck. For Oxia, the album is a statement against disposability, a body of work designed to last long after the playlists move on.
It works over the long to a single, it’s album is a challenge, because I
Oxia has never been a stranger to big moments. His Cercle set reached over a million views in days, and “Domino” has quietly built into a modern classic with more than 150 million streams. But while those milestones put him in front of a global audience, he sees albums as so- mething different entirely, a format that resists the quick dopamine of viral culture.
“Streaming a live set like my Cercle perfor- mance is similar to a single, it’s immediate, and you see the reaction right away. Domino reaching around 150 million streams is a big milestone for me, but even that took years. That track is a bit special and it’s become a classic over time. An album is different. It works over the long term. You want people to take their time with it, even if that means listening over several years. You want the album to stand the test of time, which is why many of the tracks have a more timeless quality. And it also gives me space to explore different moods and sides of my music that singles or viral moments often can’t. It’s just a different kind of expression.”
That patience is rare in a world where DJs can rise or fall on a single track’s algorithmic luck. For Oxia, the album is a statement against disposability, a body of work designed to last long after the playlists move on.
Aelle is more than just Oxia’s third album. It’s the sound of an artist refusing to rush, refusing to bend to the constant turnover of trends. In a world where singles dominate and virality decides relevance, he has chosen the slower, harder path: building a body of work meant to last years, not weeks. That patience is rare, and it shows in the record’s depth.
What makes Oxia’s story compelling is that he hasn’t abandoned the club. His tracks still move floors from Paris to Buenos Aires, yet with Aelle he shows that vulnerability and groove can coexist. It’s a reminder that electronic music doesn’t have to split be- tween functional tools and personal state- ments. The best work does both, and Oxia proves it here.
Looking back on his decades in the game, the legacy is already undeniable: one of France’s most respected exports, a produ- cer whose tracks have become timeless, and a mentor for a generation still learning what longevity really means. With Aelle, he closes one chapter and opens another, standing as proof that the long game is still the most powerful one.
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