Oxis, a 28-year-old electronic musician, has emerged as the defining voice of what fans describe as “marine electronica.” The style blends glitchy rhythms, soft vocals, and a recurring theme of water. Her music videos, filmed alone in a minimalist space, use surreal visuals that transform her movements into digital animations, making it difficult to separate the artist from the algorithm behind her work.
The sound of water, coded by hand
Her newest album, Oxis 9, arrived on July 17 and deepens the aquatic motifs that shape her discography. The 10-track collection follows eight previous releases, all produced within the last three years. The output shows no signs of slowing.
“I think anything aquatic relates to my music,” the entirely self-produced artist tells Dazed. “The other day, I called self-deprecating aquatic tunes, something like that. I like seeing all the versions that people come up with.”
Her song titles—”Long Sardine,” “Grey Mullet”—reflect the obsession. The connection goes beyond surface-level choices. As a child, she was nicknamed Tuna, a name she initially resisted before adopting it fully. “I was called Tuna growing up, like the fish, and then sometimes Salmon, it was just my identity,” she said. “After I graduated high school, I didn’t want anybody to call me that. I was like, ‘I’m starting a new chapter of my life and nobody will know the old me,’ but then I just made it my entire life again.”
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Creation without constraints
Oxis handles every part of her music alone, often working in her bedroom while movies play in the background. She calls her process “completely random,” a necessity to avoid feeling trapped by routine. “It’s completely random, and that’s why I’m able to do it so often, because if I put any constraints over how I create, I would probably hate it,” she said. “I hate the idea of any sort of box ever in life. It just makes me feel immediately suffocated. If I say I’m gonna do it [in a certain way], then it just kills it for me. So, it just has to be different every time.”
Ideas come from unexpected places—a café, an airport, or the backseat of a car. “In a coffee shop around a ton of people, I would say. And maybe that’s not super weird, but it’s just funny to be in my own world, knowing that I’m making something that feels so big to me, but nobody else can hear it,” she said.
The visuals in her videos, made with TouchDesigner, a node-based program, share that spontaneity. She doesn’t fully grasp the software but appreciates its possibilities. “I make [them] on a software called TouchDesigner, and it’s like a node-based language, something like that. I don’t even know exactly how to describe it, and I still can’t exactly grasp the whole software, but it’s so fun that with YouTube tutorials you can make absolutely anything today. [I started by] copying certain codes and creating this thing from YouTube tutorials, and it was just the strangest thing I’d ever seen. I love it because it makes no sense, but then it can also mean whatever you want it to mean. It breaks my brain a bit.”
Her 2023 single, “Long Sardine,” marked a turning point. “That was so nice and wild and made my head spin a bit,” she said.
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Solitude offers comfort. “Yes, I absolutely do [feel I do my best work in isolation],” she said. “And if I have to be in an airport to finish something, as long as no one can hear, I feel okay about it.”
Her next project is already in progress. “I began with no audience,” she said. “It’s more exciting now, but there’s so much more to manage.”
Exhaustion is real, yet the motivation remains. “I keep making music because I love it,” she said. “But I’m also tired.”
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