好青年的音樂清單

Y.Y 蔡瀛瑩〈沿途的呼吸〉：放慢腳步，感受沿途的風景

2026-11-01T19:55:26.311+08:00

中文　|　English

Y.Y 蔡瀛瑩（Angel Tsai）是 2002 年出生的台灣獨立唱作人與藝術家，畢業於國立臺灣師範大學表演藝術學系，目前就讀民族音樂研究所。

高中時期，年僅 16 歲的她便發起成立 Freeform 自由體電子樂團，與父親、資深音樂人蔡真勝（Thomas Tsai）以雙人編制進行原創流行電子音樂及現場演出。在團中她負責詞曲創作、編曲、主唱與鍵盤合成器演奏。

近年她持續以個人名義發表作品，將流行與電子音樂結合影像創作，從個人成長到社會觀察，探索聲音、科技與藝術之間的連結。

放慢腳步，感受沿途的風景

生活總是有許多事情等著完成，我們習慣追趕時間，卻可能忘了留意身邊正在發生的事。

〈沿途的呼吸 Breath Along the Way〉從自由與自我探索出發，將目光帶回日常。流動的旋律搭配輕盈的電子聲響，為歌曲營造出自在、舒緩的聽感。比起一味追求前進與抵達，這首歌更在意的是生活中的細微感受，以及那些看似平凡、卻值得珍惜的時刻。

有時候，生活不需要一直向前，也可以停下來，好好呼吸。

延伸聆聽

〈Crash 你的界線〉

從個人價值與社會期待出發，思考如何不被外界的標籤與標準定義。

〈Akada 阿卡達〉

以成長經歷為故事主軸，描寫如何面對過往傷痛，並逐步找回自己。

〈Beyond Love〉

從愛與和平出發，延伸對宇宙、生命與自由的想像。

Getting to Know Y.Y. Tsai Ying-Ying

Y.Y. Tsai Ying-Ying (Angel Tsai) is a Taiwanese independent singer-songwriter and artist born in 2002. She graduated from the Department of Performing Arts at National Taiwan Normal University and is currently pursuing postgraduate studies in ethnomusicology.

At the age of 16, while still in high school, she initiated the formation of Freeform, an electronic music duo with her father, musician Thomas Tsai. Together, they created original electronic pop music and performed live. Within the duo, Y.Y. took on songwriting, arrangement, lead vocals and synthesiser duties.

In recent years, she has continued to release music under her own name, combining pop and electronic music with visual art. Her work explores themes ranging from personal growth to social observation, while examining the connections between sound, technology and art.

Slow Down and Take in the Scenery Along the Way

Life is full of things to get done. We are often so caught up in keeping pace with time that we forget to notice what is happening around us.

“Breath Along the Way” explores freedom and self-discovery, turning our attention back to everyday life. Flowing melodies and light electronic textures create a relaxed, easy-going atmosphere. Rather than focusing solely on moving forward and reaching a destination, the song invites us to appreciate the subtle details of life and the seemingly ordinary moments that are worth cherishing.

Sometimes, life doesn't always have to move forward. It's okay to pause and simply take a breath.

More to Listen

“Crash 你的界線”

Reflecting on personal values and societal expectations, the song considers how we can resist being defined by external labels and standard

Drawing on experiences of growing up, the song tells a story of confronting past wounds and gradually finding oneself again.

“Akada”

Drawing on experiences of growing up, the song tells a story of confronting past wounds and gradually finding oneself again.

“Beyond Love”

Starting from themes of love and peace, the song expands into reflections on the universe, life and freedom.

Jeffery C《Love In Pieces》：在愛的碎片與不同聲音之間，拼湊完整的自己。

2026-10-28T20:35:20.848+08:00

中文　|　English

9 月 30 日，Jeffery C 發行首張個人創作專輯《Love In Pieces》，從不同時期的創作出發，整理一路累積的情感與音樂。

從 R&B 到 Live Band 與搖滾質地，Jeffery C 不希望自己被單一的音樂風格定義，持續探索不同聲音與創作可能。

這次好青年與 Jeffery C 聊聊《Love In Pieces》的誕生、〈把妳所有的愛〉的聲音轉變、跨國合作，以及一路走來的音樂製作經驗。

Q1：《Love In Pieces》是你的首張個人創作專輯。從開始規劃，到最後真正完成這張作品，這段過程對現在的你來說，最重要的意義是什麼？而當你回頭看這張以「愛」為核心、整理了不同時期創作的作品時，你覺得它最真實地留下了哪一部分的自己？

Jeffery C：《Love In Pieces》的規劃，是從我收到文化部補助通知後開始的。因為這份補助的目標就是完成一張專輯，所以我也藉著這個機會，正式開始整理和製作這些作品。

對現在的我來說，這張專輯最重要的意義，是它讓我把不同時期的創作，完整地整理成一個作品。我覺得創作最重要的事，是坦誠地面對自己。平常有些說不出口的話、一些藏在心裡的想法，如果在創作時還是不願意誠實面對，就很難讓作品真正引起共鳴。這張專輯留下了我對感情的看法，也留下了很多不同面向的自己。

Q2：主打歌〈把妳所有的愛〉在聲音上是整張專輯的重要轉折。相較於較細膩、柔和的 R&B 演唱方式，你選擇更直接的詮釋，並加入 Live Band 與搖滾質地。當初是什麼讓你決定以這樣的方式呈現這首歌？

Jeffery C：我一直都很喜歡比較柔和、內斂的 R&B 唱法，但製作這張專輯時，我和製作人也嘗試了很多不同的聲音，包括加入 Live Band 和搖滾質地的作品，甚至也做了一些帶有 Cyberpunk 未來感的歌，只是沒有收錄在這張專輯裡。

我不希望大家覺得我的歌都長得一樣，或是認為我只能用某一種方式唱歌。我和製作人合作時，發現自己很擅長模仿不同的唱法和唱腔，所以也想把這個特點好好發揮出來。對我來說，內斂和外放都是我的一部分，我不想因為既有印象，就限制自己去嘗試新的表現方式。

Q3：〈把妳所有的愛〉的 MV 導演曾以「離開的人帶走了陪伴，而留下的人背負了靈魂的重量」形容歌曲想傳達的情感。對你而言，一段關係結束後，最難放下的是那個人的離開，還是對方曾經存在於生命中的痕跡？

Jeffery C：我覺得最難受的，不只是那個人離開，而是他離開之後，你還是會在生活裡的很多時刻想起他。那些曾經相愛、被陪伴過的證據，還留在你的日常裡；對方離開了，卻沒辦法把這些回憶也一起帶走。這些痕跡往往不是說放下就能立刻消失的。

Q4：《Love In Pieces》融合流行、R&B 與搖滾等不同聲音。身兼歌手、詞曲創作者與製作人的你，在製作一首歌時，通常會如何找到最適合它的聲音？是從歌曲本身的情緒出發，還是也會考量演唱方式與想傳達的畫面？

Jeffery C：我自己在找一首歌適合的聲音時，通常比較憑直覺。不過製作這張專輯也讓我學到，當有一位製作人能把你的想法帶到另一個層次時，要試著相信他。

身兼歌手、詞曲創作者和製作人，確實會有很多事情要同時考慮。只靠自己，有時候很難把情緒、演唱和想傳達的畫面都處理得很好。所以我覺得製作人或配唱老師的引導很重要，他們能幫助我找到更適合歌曲的方向。

Q5：〈Tell Me You’re Lying〉是你與阿根廷裔 R&B 歌手 Ulyss 的合作作品，你們也是在美國求學時認識。在與不同音樂文化背景的音樂人合作時，這段經驗為你的創作帶來了什麼啟發？

Jeffery C：我和 Ulyss 在洛杉磯音樂學院求學時認識，我一直很欣賞他的作品，也很喜歡他唱 R&B 的方式。他也是讓我開始喜歡 R&B 的原因之一，所以能和他合作，對我來說一直是一件很開心的事。

這次合作也讓我更清楚，跨國合作的作品要被不同市場的聽眾認識，確實有一些挑戰。我很喜歡〈Tell Me You’re Lying〉，但在製作專輯的過程中，我也逐漸發現，如果希望作品更容易進入台灣或亞洲市場，中文歌曲可能是很重要的入口。

Q6：這次專輯除了音樂之外，你也接觸到影像、視覺、實體製作與宣傳工作。這段過程中，你覺得最有挑戰性的是什麼？有沒有改變了你對製作一張專輯的想像？

Jeffery C：這次專輯從音樂、影像和視覺，到實體製作與宣傳，對我來說幾乎每一個部分都是第一次接觸，也都很有挑戰。很多事情需要自己做決定，我也因此發現，自己沒有原本想像中那麼擅長溝通和果斷地做選擇。

我沒有一個完整團隊從旁協助，很多時候只能靠自己的經驗，或是向合作對象請教，再一步一步確認方向。過程中有很大的壓力，常常會擔心是不是漏了什麼、還有什麼沒想到。但這次經驗也讓我在很多方面都成長了。未來如果有機會和團隊一起做專輯，我會更理解每個環節的重要性，也更知道團隊正在處理什麼。

Q7：你過去曾參與劉家昌老師相關的音樂製作工作。這段經驗帶給你什麼收穫？其中有沒有什麼觀念或經驗，至今仍影響著你的創作與音樂製作方式？

Jeffery C：參與劉家昌老師相關的音樂製作工作，除了累積實際的製作經驗，也讓我聽到很多他的人生經驗。當中有些是比較私人的內容，我不方便分享太多，但有一個觀念一直留在我心裡。

他曾經提醒我，一個作品做到自己覺得差不多就可以了，因為十年後回頭看，可能還是會有想調整的地方。這句話讓我學著不要一直陷在反覆修改裡，也接受作品在當下完成的樣子。

Q8：你曾在美國洛杉磯接受音樂製作訓練，並於 2023 年返台後成立個人錄音工作室。從幕後製作到發展自己的音樂作品，這些經歷如何形塑現在的 Jeffery C？

Jeffery C：在洛杉磯接受音樂製作訓練，讓我有能力自己錄音、寫歌、演唱，也能參與製作。這些能力讓我創作時不必依賴太多外部資源，也更有空間去嘗試自己想做的音樂。

目前的 Jeffery C 還沒有被限定在某一種風格裡。我覺得自己有很多不同的面向，也希望能繼續探索，而這些訓練和經驗，讓我更有能力把想法實際做出來。

Q9：完成《Love In Pieces》這張首張完整專輯後，你對自己的創作或作為音樂人的定位，有沒有產生新的想法？接下來，你希望嘗試哪些過去還沒有機會探索的方向？

Jeffery C：完成這張專輯後，我對自己的能力和限制有了更具體的認識：哪些事是現階段可以做到的，哪些事需要公司的協助；寫歌時可以如何選擇語言，也有哪些地方還需要補足。很多想法都是在實際做過之後才慢慢形成的。

所以我不太會把過程中的不順利看成失敗。很多事如果回到過去，我想自己還是會做一樣的決定；而且一次沒有做到，不代表永遠做不到。現在我更清楚自己想繼續嘗試什麼，也知道接下來可以如何調整。例如這張專輯收錄了不少英文歌曲，但製作過程也讓我更確定，如果希望作品更容易進入台灣市場，中文創作會是很重要的方向。

Q10：有沒有哪位音樂人、哪張專輯，或某首對你特別有意義的作品，曾經啟發你的音樂創作，或影響你對音樂的理解？如果要推薦自己近期喜歡、希望更多人聽見的作品，你會選哪一首？為什麼？

Jeffery C：Justin Bieber 對我的音樂創作影響很深，是啟發我很多的一位音樂人。近期我也很喜歡 Chase Atlantic 的音樂，他們的聲音和風格都讓我覺得很有趣。

如果要推薦一首最近喜歡、希望更多人聽見的歌，我會選 KARRI 的〈Chasing You〉。這是我近期聽到、很喜歡的一首作品。

Jeffery C - Love In Pieces: Piecing Together a Whole Self Through Fragments of Love and Different Sounds

On September 30, Jeffery C released his debut studio album, Love In Pieces. Drawing from songs written across different periods of his life, the album brings together years of emotions and musical experiences.

From R&B to live-band arrangements and rock textures, Jeffery C refuses to be defined by a single musical style, continuing to explore different sounds and creative possibilities.

In this interview, Jeffery C shares with us about the making of Love In Pieces, the sonic transformation of “Give Me All Your Love,” his experience working across cultures, and the musical journey that has shaped him along the way.

Q1: Love In Pieces is your debut album of original songs. From the initial planning stages to finally completing the record, what has the process meant to you? Looking back at an album centred on love and bringing together songs written at different stages of your life, what parts of yourself do you feel it captures most honestly?

Jeffery C: The planning for Love In Pieces began when I received the notification that I had been awarded a grant from Taiwan’s Ministry of Culture. Since the grant was intended to support the completion of an album, it gave me the opportunity to properly start organising and producing these songs.

The most important thing about this album, for me, is that it allowed me to bring songs from different periods of my life together into a complete body of work. I believe honesty is essential to creating music. There are things we find difficult to say out loud and thoughts we keep hidden inside. If we are still unwilling to confront them honestly when creating, it becomes difficult for our work to truly resonate with others. This album captures my perspectives on relationships, as well as many different sides of myself.

Q2: The lead single, “把妳所有的愛”, marks an important shift in the album’s sound. Compared with the more delicate and gentle approach you often take with R&B, you opted for a more direct vocal delivery, incorporating live-band arrangements and rock elements. What inspired you to present the song in this way?

Jeffery C: I’ve always loved a gentler, more restrained R&B vocal style. However, while making this album, my producer and I experimented with a wide range of sounds, including tracks featuring live-band arrangements and rock elements. We even made some songs with a futuristic, cyberpunk feel, although those didn’t make it onto the album.

I don’t want people to feel that all my songs sound the same, or to think I can only sing in one particular way. While working with my producer, I realised that I’m quite good at imitating different vocal styles and approaches, so I wanted to make better use of that ability. To me, both restraint and expressiveness are part of who I am. I don’t want existing perceptions of me to limit the ways I can experiment with new forms of expression.

Q3: The director of the music video for “把妳所有的愛” once described the song’s emotional core as follows: “The person who leaves takes the companionship with them, while the one left behind carries the weight of the soul.” In your view, after a relationship ends, what is harder to let go of: the person’s departure, or the traces they have left behind in your life?

Jeffery C: I think the hardest part isn’t simply that the person has left. It’s that, even after they’re gone, there are still so many moments in everyday life when you’re reminded of them. The evidence of having loved someone and been accompanied by them remains in your daily life. They may have left, but they can’t take those memories away with them. Those traces don’t simply disappear the moment you decide to move on.

Q4: Love In Pieces blends different sounds, including pop, R&B and rock. As a singer, songwriter and producer, how do you usually find the sound that best suits a song? Do you begin with the emotions at its core, or do you also consider your vocal delivery and the imagery you want to convey?

Jeffery C: When I’m trying to find the right sound for a song, I usually rely on intuition. However, making this album taught me that when a producer can take your ideas to another level, you need to learn to trust them.

Being a singer, songwriter and producer means having to consider many things at once. Sometimes, it’s difficult to handle the emotions, vocal delivery and imagery all by yourself. That’s why I think guidance from a producer or vocal coach is important. They can help me find a direction that works better for the song.

Q5: “Tell Me You’re Lying” is your collaboration with Argentine R&B singer Ulyss, whom you met while studying in the United States. What did working with an artist from a different musical and cultural background teach you about your own creative process?

Jeffery C: Ulyss and I met while studying at the Los Angeles College of Music. I’ve always admired his work and loved the way he sings R&B. He was also one of the people who first got me interested in R&B, so collaborating with him has always been something I’m really happy about.

This collaboration also made me realise more clearly that it can be challenging for cross-border collaborations to reach listeners in different markets. I really love “Tell Me You’re Lying”, but the process of making this album gradually helped me understand that Mandarin songs could be an important entry point if I want my music to reach audiences in Taiwan and across Asia.

Q6: Beyond the music itself, this album also involved working on visuals, music videos, physical production and promotion. What did you find most challenging about this process? Did it change your perception of what it takes to make an album?

Jeffery C: Almost every aspect of this album was new to me, from the music and visuals to physical production and promotion, and each came with its own challenges. I had to make a lot of decisions myself, and I realised that I wasn’t as good at communicating or making decisive choices as I had thought.

I didn’t have a full team supporting me, so a lot of the time I had to rely on my own experience or ask the people I was working with for advice, gradually figuring things out step by step. There was a lot of pressure, and I often worried that I might have overlooked something or missed an important detail.

But the experience also helped me grow in many ways. If I have the opportunity to work with a team on an album in the future, I’ll have a much better understanding of why each stage matters and what the team is working on.

Q7: You previously took part in music production work associated with the late Taiwanese songwriter Liu Chia-chang. What did you gain from that experience? Was there a particular lesson or piece of advice that continues to influence the way you create and produce music today?

Jeffery C: Working on music production projects associated with Liu Chia-chang gave me hands-on production experience, and it also allowed me to hear many of his life experiences. Some of those conversations were quite personal, so I can’t share too much, but one idea has stayed with me.

He once reminded me that when you feel a piece of work is good enough, you can consider it finished, because even ten years later, you might still find things you want to change when you look back at it. That advice taught me not to get stuck in endless revisions, and to accept a work as something completed in that particular moment.

Q8: You received music production training in Los Angeles and established your own recording studio after returning to Taiwan in 2023. How have these experiences, from working behind the scenes to developing your own music, shaped the Jeffery C we see today?

Jeffery C: My music production training in Los Angeles gave me the skills to record, write songs, sing and take part in production myself. These abilities mean I don’t have to rely on too many external resources when creating music, and I have more room to experiment with the kind of music I want to make.

The Jeffery C of today isn’t confined to any one genre. I feel that I have many different sides to explore, and I want to keep discovering them. The training and experience I’ve gained have given me more of the skills I need to turn my ideas into reality.

Q9: Now that you’ve completed Love In Pieces, your debut full-length album, has your understanding of yourself as an artist or your creative identity changed? Are there any directions you’d like to explore next that you haven’t had the opportunity to pursue before?

Jeffery C: After completing this album, I’ve gained a more concrete understanding of my abilities and limitations: what I can achieve at this stage, where I need support from my label, which language I can choose to write in, and what areas I still need to improve. A lot of these realisations only came through actually doing the work.

That’s why I don’t really see things that don’t go smoothly as failures. If I could go back, I think I would still make the same decisions. And just because something doesn’t work out once doesn’t mean it will never work out. I now have a clearer idea of what I want to keep trying and how I can adjust my approach going forward.

For example, although the album contains quite a few English-language songs, the process also reinforced my belief that writing in Chinese is an important direction if I want my music to reach a wider audience in Taiwan.

Q10: Is there an artist, album or song that has had a particular impact on your music or shaped the way you understand it? And if you could recommend one song you’ve been enjoying recently that you’d like more people to hear, what would it be, and why?

Jeffery C: Justin Bieber has had a profound influence on my music and has been a major source of inspiration for me. Lately, I’ve also been really enjoying Chase Atlantic. I find their sound and style very interesting.

If I were to recommend a song I’ve been listening to recently and would like more people to hear, I’d choose “Chasing You” by KARRI. It’s a track I discovered recently and have really enjoyed.中文

《大象體操：比夢境更真實》紀錄長片觀後感：夢想成真之後，還要繼續走下去

2026-10-23T20:30:50.070+08:00

中文　|　English

10 月 15 日，透過「子皿 In Utero」在倫敦 Close-Up Cinema 舉辦的放映活動，看了《大象體操：比夢境更真實》首部紀錄長片。從高雄出發的大象體操，從 2012 年成團至今，走過十多年的創作與演出，也一步一步走向世界。2023 年，他們展開橫跨 23 個國家的「THE WORLD」世界巡迴，60 場演出，從亞洲一路到歐洲、美洲，讓來自台灣的數學搖滾，在世界各地留下自己的聲音。

這部紀錄片沒有只讓我們看見舞台上的大象體操。更多時候，鏡頭停留在演出之外：長時間巡演帶來的疲憊、團員之間的摩擦、兄妹關係與團員身分之間的拉扯，以及當音樂逐漸成為生活之後，那些很難被外人看見的壓力。看著他們在世界各地演出，也看著他們在音樂理念上的爭執，甚至走到樂團是否還要繼續的邊緣，讓人不禁思考：夢想究竟是什麼？

我們很容易把「夢想成真」想像成一個漂亮的終點，走上更大的舞台、走遍世界、被更多人聽見，然後告訴自己，終於做到了。但《比夢境更真實》讓我看到的，卻是夢想成真之後的另一面。

當一個夢想真的成為日常，它就不再只是夢想。它也會變成巡演、疲憊、壓力、爭執，以及一次又一次「還要不要繼續」的選擇。

舞台上的大象體操，音樂精準、複雜，卻又充滿能量。但離開舞台之後，他們也只是三個會累、會有情緒，會對彼此產生不同想法的人。這部紀錄片打動人的地方，在於它不只記錄一支樂團如何走向世界，也讓我們看到，當夢想真的發生之後，真正困難的，也許是如何繼續一起走下去。

尤其是凱婷與凱翔。他們是兄妹，但也是樂團裡的團員。家人是一種很難切割的關係，樂團成員卻需要在音樂與工作裡保持一定的距離。很多時候，不能只是用兄妹的方式去理解彼此。

學會保持距離，不一定代表變得疏遠。有時候，反而是因為想一起走得更久，才需要學著把彼此當成獨立的人。不一定所有事情都要一起，也不一定所有情緒都需要對方理解。但要知道什麼時候往前一步，什麼時候退後一點，也學習把該負責的事情交還給自己。

這件事情其實不只發生在樂團裡。很多長久的關係，可能都需要這樣的距離。三個人的關係，片中用身體不同的部位來形容三個人在樂團裡的角色。嘉欽像骨骼和血液，支撐著整個身體，也讓音樂持續流動；凱婷像心臟；凱翔像大腦。三人各自有不同的位置，也有不同的個性與想法，所以才會產生摩擦。但也正因為不同，三個人才成為大象體操，缺一不可。

看到他們曾經走到解散邊緣，真正讓人難受的，是三個已經一起走了這麼久的人，仍必須重新學習怎麼理解彼此、怎麼共存。也許這就是夢想的代價，夢想的代價不只是時間與努力，還有你必須面對夢想成真之後的生活。當原本想做的事情成為日常，當一起追夢的人也有自己的想法與人生，如何繼續前進，可能比最初踏出第一步更加困難。

走遍世界、站上舞台、被世界各地的人聽見，當然是夢想成真的一部分。但如果有一天，你仍然可以和這兩個人一起坐下來，接受彼此的不一樣，保留各自的生活，又願意為了一件三個人都相信的事情繼續合作，那可能也是另一種夢想成真。

看完之後，也不禁問自己：如果有一天，夢想真的成真了，我們願意為此付出什麼？而當它成為生活的一部分之後，我們又是否還願意繼續走下去？

現場特別準備專屬明信片，讓參與放映的觀眾留下了自己的話語。夢境成真，不負韶華；在拍點交錯間，皆是厚福。

謝謝導演郭晉汝執導的大象體操紀錄片，也謝謝「子皿 In Utero」在倫敦舉辦這次放映，讓身在海外的人有機會透過影像認識台灣獨立音樂，以及音樂背後那些不容易被看見的故事。

DOCUMENTARY REVIEW

Elephant Gym: More Real than Dreams
After the Dream Comes True, You Still Have to Keep Going

On October 15, I attended a screening of Elephant Gym: More Real than Dreams, the band’s first feature-length documentary, presented by In Utero at Close-Up Cinema in London.

Formed in Kaohsiung in 2012, Elephant Gym have spent more than a decade developing their music and performing around the world. In 2023, they embarked on THE WORLD, a 60-date tour spanning 23 countries, taking their distinctive brand of math rock from Asia to Europe and the Americas, allowing their math rock from Taiwan to leave its mark across stages around the world.

The documentary does not simply show us Elephant Gym on stage. Much of its focus lies beyond the performances: the exhaustion of an extended world tour, tensions between band members, the complicated dynamic between siblings who are also creative partners, and the pressures that are difficult for anyone outside the band to see once music becomes part of everyday life.

We see them performing across different countries, but we also see disagreements over their musical ideas, personal tensions, and a band pushed to the edge of questioning whether it can continue.

It inevitably raises a question:
What is a dream, after all?

We often imagine “making your dream come true” as a beautiful destination, stepping onto bigger stages, travelling the world, reaching more listeners, and finally being able to say that you made it.

But More Real than Dreams reveals another side of what happens after the dream comes true.

When a dream becomes part of everyday life, it is no longer simply a dream. It also becomes touring, exhaustion, pressure, conflict, and the repeated question of whether you still want to keep going.

On stage, Elephant Gym are precise, intricate and full of energy. Away from the stage, however, they are simply three people who get tired, have emotions, and sometimes see things differently from one another.

That is what makes the documentary so affecting. It does not only document how a band makes its way into the world; it also shows that once a dream becomes reality, perhaps the harder part is figuring out how to keep moving forward together.

This is particularly evident in the relationship between KT and Tell.

They are siblings, but they are also bandmates. Family is a relationship that is difficult to separate from oneself, while being in a band requires a certain degree of distance within music and work. At times, they cannot simply approach each other as brother and sister.

Learning to keep a certain distance does not necessarily mean becoming distant.

Sometimes, it is precisely because you want to keep walking together for longer that you need to learn to see each other as independent individuals.

Not everything has to be shared, and not every emotion needs to be understood by the other person. Sometimes, it is about learning when to step forward, when to step back, and when to take responsibility for what belongs to you.

This is not something unique to being in a band. Many long-lasting relationships may require the same kind of distance.

The film also uses different parts of the body to describe the three members and their roles within Elephant Gym. Chia-Chin is like the bones and blood, supporting the body and keeping the music moving. KT is the heart. Tell is the brain.

Each has a different role, personality and way of thinking, and that is inevitably where friction comes from.

But it is also precisely because of these differences that the three of them become Elephant Gym.

None of them can be missing.

Seeing the band come so close to breaking up is difficult not simply because a band was on the verge of ending, but because three people who have travelled such a long way together still have to learn how to understand one another and coexist.

Perhaps that is the price of a dream.

The cost of a dream is not only time and effort. It is also having to face the reality that comes after the dream has been achieved. When something you once simply wanted to do becomes your everyday life, and the people you have been dreaming alongside have their own ideas and lives, figuring out how to keep moving forward can be harder than taking the first step.

Travelling the world, standing on stages, and being heard by audiences across the globe are certainly parts of making a dream come true.

But if, one day, you can still sit down with these two people, accept that you are different, maintain lives of your own, and still choose to work together towards something all three of you believe in; perhaps that is another kind of dream coming true.

After watching the film, I found myself asking:
If our dreams really came true one day, what would we be willing to give for them? And once they became part of our everyday lives, would we still be willing to keep going?

At the screening, a special postcard was also prepared for audiences to leave their own words behind.

When dreams become reality, may we make the most of our time; in every interlocking rhythm, there is a kind of grace.

Thank you to director Alulu Kuo for directing this documentary on Elephant Gym, and to In Utero for organising this screening in London, giving audiences living overseas the opportunity to discover Taiwanese independent music through film, as well as the stories behind the music that are so often left unseen.

【專訪】紙鳶 Seizer《缺頁的名冊》：寫下時間的痕跡

2026-10-21T20:16:47.295+08:00

中文　|　English

2024 年成團的紙鳶 Seizer，由主唱兼主要詞曲創作者仁杰、吉他手兼製作人海豹、吉他手兼和聲崇祐、貝斯手亨利與鼓手秉宸組成。成團後接連推出首張專輯《人性本賤》與第二張專輯《缺頁的名冊》，在兩張作品之間持續探索人性、關係與生活的不同面向。

從首張作品對人性慾望的直面，到新作對失去、遺忘與日常的凝視，紙鳶持續透過音樂記錄生活中的觀察與感受。《缺頁的名冊》像一本尚未完整的名冊，每一首歌都是其中留下的一頁；而在不同的閱讀與聆聽順序裡，同樣的作品也可能產生不同的觀看方式。

這次專訪，我們聊了《缺頁的名冊》的創作起點、〈平凡的一天〉如何成為專輯概念逐漸成形的契機，以及曲風與金屬聲音的探索。也談到團員之間的創作磨合、與不同音樂人的合作，以及走上海外舞台後，對自身音樂有了哪些新的體會。

從歌曲的誕生到樂團一路走來的變化，邀請你一起翻開紙鳶的《缺頁的名冊》，看看他們如何在一頁頁音樂之間，留下屬於這個階段的痕跡。

紙鳶 Seizer
第二張專輯《缺頁的名冊 Unwritten Lines》

數位發行｜2026.09.09
實體發行｜2026.10.09

《缺頁的名冊》發片專場
2026.10.25 SUB Live
18:30 入場｜19:30 開演

Q1：紙鳶在 2024 年成團後，接連推出兩張專輯。首張《人性本賤》以直率的聲音直面人性的慾望，而第二張《缺頁的名冊》則將目光轉向失去、遺忘與遺憾。你們的創作靈感通常來自哪些地方？日常生活中的經歷與觀察，又是如何轉化成歌曲的？

仁杰：我覺得創作靈感其實不一定來自什麼特別的事情，反而是生活裡那些我們習以為常、甚至不太會特別在意的東西。

像《人性本賤》比較直接地去面對人性裡的慾望、嫉妒，還有一些我們不太願意承認的陰暗面；到了《缺頁的名冊》，我開始更在意人與人之間的關係、失去，以及那些最後沒有被好好記住的事情。

對我來說，寫歌不只是把自己的情緒抒發出來，我更喜歡去思考，一個情緒或一個現象背後，究竟是什麼原因讓它發生。比如說，為什麼人總是急著判斷別人？為什麼我們明明討厭某些行為，最後卻可能不知不覺成為自己討厭的那種人？

我通常會先從這些問題出發，再慢慢把觀察轉化成歌詞。但我也不會刻意要求每首歌都要有多完整的概念，有時候只是當下的一個感受，寫著寫著，過了一段時間再回頭看，才發現它跟其他作品之間原來有某種關聯。

其實《缺頁的名冊》就是這樣。很多歌曲一開始並沒有刻意圍繞同一個主題去創作，但完成之後才發現，它們都在不同的角度談論著失去、遺忘，以及人在沒有答案的情況下，還是得繼續生活這件事。

所以我覺得，創作對我而言比較像是一種持續觀察和理解世界的過程，就是因為有些事情我一直想不明白，才想試著透過作品把它們記錄下來。至於聽眾最後怎麼理解這些歌曲，我覺得那是他們自己的課題。我不一定需要替每個問題提供解答，至少我希望這些作品能讓一些平常不太會被注意到的事情，有機會被重新看見。

Q2：〈平凡的一天〉的完成，成為《缺頁的名冊》整體概念逐漸成形的起點。當一首原本獨立的作品開始延伸成整張專輯時，你們如何決定其他歌曲要如何與它產生關聯？有沒有哪首歌原本並不在這個概念之中，後來卻意外成為不可或缺的一部分？

仁杰：其實對我來說，〈平凡的一天〉比較像是讓我重新理解這張專輯的起點，不是一開始就拿來當作整張專輯的核心去規劃。

這張專輯裡的很多歌曲，都是在不同的時間、不同的狀態下完成的。我沒有刻意要求每首歌都必須扣合某個主題，因為我不太希望創作變成先有一個答案，再去找適合的素材填進去。對我來說那樣反而容易失去作品原本最真實的樣子。

但當歌曲越來越多，開始把它們放在一起聽的時候，我才發現雖然每首歌談論的事情不太一樣，底層好像都有一些相似的東西。可能是對人性的懷疑、對關係的理解，也可能是那些我們以為已經過去了，卻還是會在某個時刻重新想起來的事情。

〈平凡的一天〉對我來說很特別，是因為它讓我開始思考，當我們看見別人的失去、遺憾，甚至是一些很沉重的事情時，生活卻還是會繼續。昨天發生的事，可能今天就成了日常；曾經對一個人很重要的事情，也可能隨著時間過去，慢慢從其他人的記憶裡消失。

這其實也是《缺頁的名冊》後來逐漸形成的方向。我們開始去記錄那些看起來不重要、沒有被好好對待，甚至最後可能被遺忘的事情。

如果要說哪一首歌是後來才發現不可或缺的，我反而覺得很難單獨挑出一首。因為這張專輯對我而言有趣的地方，就是它們並不是為了彼此而存在，卻在完成之後產生了某種連結。

我覺得創作有時候就是這樣，你當下不一定知道自己為什麼要寫這些東西，但過了一段時間回頭看，才發現原來自己一直在反覆思考相似的問題。這次只是剛好透過一張專輯，讓那些原本分散的想法有機會被放在一起。

Q3：在《缺頁的名冊》中，每首歌都記錄著不同的情緒與故事。有沒有哪首歌的歌詞特別讓你們喜歡，或是其中某個段落讓你們產生很深的共鳴？隨著時間過去，你們對這些歌詞的理解有沒有產生新的變化？

仁杰：如果是我自己的話，我會選〈平凡的一天〉

這首歌對我來說有一個很特別的地方，就是它其實記錄了我在成為獨立音樂人之後，對生活和創作的一些轉變。

以前可能會覺得，只要能夠發片、能夠站上更大的舞台，就是一件很值得期待的事情。但真的走到這個階段之後，才發現很多曾經很渴望的事情，在實現的過程中，也會慢慢變成生活的一部分。不是它們不再重要了，而是人好像真的很容易習慣自己曾經夢寐以求的東西。

所以這首歌對我來說，不只是記錄平凡的生活，而是去思考，我們究竟要怎麼看待那些已經發生、卻不再讓自己感到特別的事情。

至於歌詞的理解有沒有隨著時間改變，我覺得一定有。創作者在寫歌的當下，可能只是想表達某個情緒，但幾年之後再唱起來，你會發現自己已經走過一些當時還不理解的事情。歌詞沒有改變，可是唱歌的人變了。

我現在反而不太會急著替一首歌下定論。因為有些事情在寫下來的時候，我自己也未必真的想明白了。可能只是先把當下的感受留下來，等到某一天再回頭聽，才發現那幾句話原來還有其他意思。

我覺得這也是創作很有趣的地方。作品完成的那一刻，不代表它的意義就固定了。它會跟著創作者的經歷改變，也會因為聽眾各自的人生，產生原本沒有預期到的解讀。

某種程度上，我們寫下歌詞的時候是在記錄自己，但時間過去之後，那些文字也可能反過來讓我們重新認識自己。

Q4：紙鳶的音樂融合 Emo Rock、Grunge、Britpop 等元素，而新專輯中的〈Taste me Alive〉也進一步嘗試金屬語彙。對你們而言，這次在聲音上的探索是源於歌曲本身的需求，還是樂團希望主動突破既有風格？在嘗試新方向時，如何拿捏實驗性與紙鳶原有的音樂特色？

紙鳶：我覺得兩者都有，但對我來說，歌曲本身的需求還是比較重要。

因為我一直認為，曲風應該是拿來服務作品的，而不是反過來讓作品去配合某一種曲風。如果今天一首歌需要更強烈的侵略性，我們就去找適合它的聲音；如果它需要比較內斂、比較有空間的編曲，也不應該因為紙鳶過去的音樂比較衝，就硬是把它做得很滿。

像〈Taste me Alive〉這首歌，金屬的語彙對它來說就是一個適合的選擇。它需要的不是單純把音樂做得更重，透過聲音的重量、節奏和編曲的張力，去放大歌曲本身想傳達的東西。

至於怎麼拿捏實驗性與紙鳶原有的特色，我覺得關鍵在於我們怎麼定義自己的核心辨識度。對我來說，紙鳶不只是 Emo Rock、Grunge 或 Britpop 等曲風的組合，我們習慣用什麼角度看待這個世界，以及怎麼把那些不容易被說清楚的情緒與矛盾，轉化成有力量的作品。

從《人性本賤》對人性慾望的直面，到《缺頁的名冊》對失去、遺忘與日常的凝視，我們始終不太滿足於只描述一種情緒，我們會繼續追問它從何而來，以及自己在其中扮演了什麼角色。我認為這是紙鳶很重要的辨識度，也是我們希望透過歌詞與音樂共同呈現的東西。

所以我不會認為嘗試金屬就代表偏離了紙鳶原本的風格。比起守住某一種固定的精神，我更在意音樂是否真的承接了歌曲想說的事情，作品本身是否足夠誠實，也兼具內容與音樂性。

我希望紙鳶不會被某一種曲風限制住。聲音可以改變，創作方向也可以持續拓展，但我們看待人性、關係與世界的方式，以及把這些觀察轉化成作品的企圖心是始終不變的。

Q5：這張專輯邀請旅人、羊米人與知更參與合作。你們是如何決定哪些歌曲適合邀請其他音樂人加入？在與不同創作者交流、共同完成作品的過程中，有沒有出現原先未曾預期的音樂火花？

紙鳶：我覺得我們在決定合作人選的時候，還是會先回到歌曲本身去思考。不是每首歌都適合加入其他人的聲音，有些作品需要維持比較完整、單一的敘事，但有些歌如果能有不同的聲音或觀點進來，反而會讓作品產生原本沒有的層次。

像這次與旅人至凱、羊米人和知更的合作，我覺得三首歌的需求其實不太一樣。

〈Taste me Alive〉本身的音樂方向比較強烈，也有金屬的元素，所以旅人至凱的加入，讓這首歌有機會在原本的聲音基礎上，發展出更有張力的表現方式。
〈六月的雨縫〉則是另一種狀態。這首歌比較著重情緒的流動，以及人與人之間那些難以言說的感受。羊米人的加入，讓歌曲多了一種不同的情緒層次，也讓原本的敘事有了不一樣的呼吸感。

至於〈平凡的一天〉，知更的參與對我來說很有意義，因為這首歌承載了我對生活、時間，以及成為獨立音樂人之後一些心境變化的感受。我希望這首歌呈現的感覺試一種經歷過一些事情之後，重新看待日常的心情。知更的加入，讓這份情緒有了另一種詮釋，也讓歌曲最後呈現的樣子，不再只是我一個人的視角。

我覺得合作很有趣的地方，就是每個創作者都有自己的習慣和理解方式。同樣一段音樂、同樣一個情緒，不同的人可能會用完全不同的方式去詮釋。有時候你原本覺得自己已經很清楚這首歌要往哪裡走，但當另一個人加入之後，他的聲音或表達方式會讓你發現，原來這首歌還有其他可能性。

所以對我來說，合作不只是交換技術或聲音，也是讓自己的想法接受不同的詮釋。我們不一定要把每個細節都控制在原本的想像裡，只要最後這些不同的特質都能回到歌曲本身，成為作品的一部分，我覺得就是很珍貴的經驗。

Q6：紙鳶的創作主要由仁杰與崇祐發起，海豹擔綱製作，並與秉宸、亨利共同完成編曲。當一首歌從最初的詞曲雛形發展成完整作品時，團員通常如何交換想法、磨合不同的音樂觀點？有沒有哪首新歌特別能代表你們彼此激盪、共同塑造音樂的過程？

紙鳶：因為這張專輯做到後面，我們其實對於自己想像的紙鳶是什麼樣子都稍微不一樣，也更容易有衝突。像〈矯〉一開始叫〈我厭惡的流行歌曲〉，其實那個名字就是詞曲作者仁杰當時最滿意的想法，因為和第一張專輯的〈你聽過的流行歌曲〉是跨專輯的呼應。可是後來大家討論之後也慢慢說服仁杰，有時候把概念講得太滿，反而會讓作品少掉一些想像的空間，所以最後才改成〈矯〉。

仁杰：我覺得這也是我自己這兩年比較大的改變。以前可能會覺得「這就是我寫的，我為什麼要改？」但後來開始知道，妥協不一定等於放棄自己的東西，有時候是在找一個大家都能認同、但作品本身又沒有被犧牲掉的位置。

至於崇祐唱〈你在的地方〉，因為那首歌的氣質跟我們平常給人的印象差很多，而且我希望讓崇祐唱的原因是歌裡的角色想和〈查無此人〉呼應，讓崇祐比較溫柔細膩的聲線去對話是我想像的歌曲樣貌，對聽感來說也是一種新的嘗試。

Q7：紙鳶的作品經常觸及現實生活中的矛盾與個體處境。當你們想把某個社會現象或觀察寫進歌曲時，如何在具體事件與個人情緒之間找到平衡？你們會希望歌曲清楚傳達自己的立場，還是更傾向留下空間，讓聽眾形成自己的理解？

仁杰：我覺得這兩件事情其實很難完全分開，因為我們對一個社會現象產生情緒，本身就代表我們已經有了某種立場。但對我來說，比起急著告訴別人我是對的、誰是錯的，我更在意的是這個現象為什麼會發生？以及我們是不是也在不知不覺中成為其中的一部分？

像紙鳶有些作品，表面上是在談論社會現象，但我真正想追問的，往往不只是某個人的行為，而是讓這些行為得以發生的環境，以及我們習以為常的價值觀。因為很多事情並不是把一個人定義成好人或壞人，就真的能夠得到解答。

所以在創作的時候，我會希望具體的事件或觀察能夠成為入口，但不一定要把所有答案都寫出來。有時候太急著解釋，反而會讓作品失去原本可以延伸的空間。我更希望透過歌詞、意象和情緒，讓聽眾自己走進那個問題。

但留下空間，不代表我不願意表達立場。我還是希望作品有它明確的觀點，只是我不認為創作者有必要替聽眾完成所有思考。對我來說，一首歌可以很有立場，同時也容許別人從不同的生命經驗出發，得到不一樣的理解。

而且我覺得，當我們在批判某些現象的時候，也應該保留反過來檢視自己的可能。因為人很容易在看見別人的問題時，認為自己一定站在比較正確的位置，但實際上，我們也可能在某些情境下做出自己曾經批判過的事情。

所以我寫歌的時候，不太希望自己只是站在旁邊評論世界。有時候我也想把自己放進去，去思考自己是不是同樣受到那些價值觀影響，甚至是不是也曾經成為自己不認同的那種人。

至於聽眾最後會怎麼理解，我願意把那個空間留給他們。畢竟我能負責的是我為什麼寫這首歌，但我沒辦法替每個聽見它的人，決定這首歌應該代表什麼。

Q8：今年紙鳶受邀出席國際前往泰國 Monster Music Festival 演出，開始與台灣以外的樂迷交流。這次經驗是否改變你們對自身音樂的理解？你們最希望透過現場演出傳達什麼？

紙鳶：海外音樂節讓我們看見自己做得好的地方，也讓我們知道還缺什麼。像是現場的規模、舞台的製作、國際溝通，甚至是我們跟其他國家音樂人的交流方式，這些都是以前在台灣比較不容易意識到的事情。但我不會因此覺得我們一定要離開台灣，才有辦法證明自己。

反而是我更希望紙鳶可以把台灣這塊土地上累積出來的東西做好，然後有機會再帶出去。

因為我現在比較相信，真正有價值的海外交流，不是「去過哪裡」而已，你去了之後有沒有把一些新的東西帶回來，讓自己的作品跟現場變得更特別更完整。

所以如果未來還有機會去更多地方演出，我們當然會很期待，但我們比較希望有一天可以很理所當然地在台灣做好自己的音樂，也很理所當然地把它帶到世界其他地方。

這樣對我們來說才比較像是紙鳶真正開始飛向國際。

Q9：《缺頁的名冊》試著記錄那些可能被時間帶走的人事物，但生活仍然會不斷產生新的故事。完成這張專輯後，你們對創作、樂團以及自己有沒有產生新的理解？如果未來的紙鳶能回頭翻閱今天留下的這些音樂，你們希望那時候的自己，會從中看見什麼？

紙鳶：我們總是很習慣用結果去衡量一件事情的價值，包含創作也是。我們會在意作品有沒有被看見、被理解，甚至有沒有得到足夠的回應。但如果一件事情的價值，必須等到有人認可之後才能成立，而那些沒有被看見的東西，是不是就真的不重要了？

這也是《缺頁的名冊》對我來說很重要的地方。它讓我重新去思考，創作是不是除了表達自己，也能替一些可能被忽略的事情留下紀錄。即使它們沒有改變什麼，也不代表它們不值得被寫下來。

至於樂團，我覺得我們也還在學習怎麼一起走下去。每個人都會改變，對音樂的想法、對生活的期待，甚至對樂團的想像，都可能跟剛成立的時候不一樣。我不覺得一個樂團必須永遠維持最初的樣子，但我希望我們在改變的過程中，還是能夠知道自己為什麼開始做這些事情，以及為什麼到現在還願意繼續做下去。

仁杰：如果未來的紙鳶有一天回頭聽這張專輯，我希望我們看見的，不只是當時做出了什麼樣的作品是那個階段的我們，曾經很認真地思考一些事情，也很誠實地留下了自己的困惑。

我不一定希望未來的自己會認同現在寫下的每一句話。因為如果幾年過去了，我們對世界的理解還跟現在一模一樣，那或許也代表我們沒有真正經歷什麼改變。但至少我希望未來的我們不會因為害怕犯錯、害怕被誤解，或是太在意別人怎麼看待自己的作品，而慢慢失去提問的能力。

對我來說，創作最珍貴的地方是讓我們有機會回頭看見，自己曾經怎麼理解這個世界，又是如何一步一步走到今天。

Q10：最後想請各位團員各自推薦近期喜歡，或對自己有特殊意義的歌曲，並分享喜歡這首歌的原因。無論是旋律、歌詞、編曲，或是歌曲帶給自己的感受，都歡迎和大家分享。

仁杰：〈平凡的一天〉

我覺得人很容易把注意力放在還沒得到的東西上，總覺得等到下一個目標實現，生活才會真正開始。但人生好像不是這樣運作的，很多事情發生了就是發生了，時間也不會因為我們還沒準備好，就停下來等我們。如果要說這首歌帶給我什麼，我想是讓我開始學著接受，有些日子不需要特別有意義，也不一定要留下什麼成果。只是當下的我們，往往很難意識到自己正身處其中。或許很多年以後，當我們回頭想起現在，真正記得的未必是那些費盡力氣想完成的事情，而是某個再普通不過的下午、一次沒有特別理由的相聚，或是一段當時以為還會持續很久的日常，只是那個時候我們可能已經沒有辦法再回到那一天了。

所以我希望〈平凡的一天〉能留下的，不是要大家把每一天都過得多有意義，是想提醒大家當某一天終究成為過去，我們至少還能記得自己曾經好好地生活在那個時刻。

崇祐：〈星雲飄蕩〉

我們時常在生活中經歷很多不舒服的事情，可能是工作很累，可能是跟人吵架，可能是失戀，也可能只是今天真的過得很糟糕，這些情緒常常讓我們忘記身邊還有很多愛著我們的人，就像都市夜晚的天空，晚上抬頭看的時候，可能根本看不到幾顆星星，因為有太多燈光、太多東西把它們蓋住了，但是他們其實一直都在，我覺得身邊那些愛我們的人也是一樣，這首歌提醒我們其實一直都被愛著，就算現在看不到，也不代表它不存在。

秉宸：田馥甄〈大船〉

這首歌給我的感覺，就像是溫柔地看著一個人經歷風浪，然後慢慢歸航。

我們在生活裡常常像是一艘獨自航行在大海上的船，總是得獨自面對未知的風浪、突如其來的雨，甚至是漫無邊際的孤獨。很多時候我們被催促著要往前開、要勇敢、要堅強，但卻很少有人問我們「累不累？要不要停下來靠岸？」。

〈大船〉這首歌的旋律和歌詞有一種神奇的力量，它不會強迫你要立刻好起來，而是像一個寬廣的港灣，告訴你：「辛苦了，你已經做得很好，現在可以好好休息了。」它讓我覺得，無論我們在外面受了多少傷、經歷了多少迷惘，內心深處永遠會有一個安全的地方等待我們回航。希望這首歌也能給正在經歷風浪的人一種安心感——知道自己被溫柔地包容著，然後在休息夠了之後，又有勇氣重新出發。

海豹：Loathe 〈Fangs〉

Loathe 的音樂有一點很特別，就是他們在很重、很炸的音牆裡面，會塞進非常夢幻的旋律。聽〈Fangs〉的感覺就像站在風暴中心，外面雖然狂風暴雨，但當你被這種極度破壞力的聲音徹底包圍時，心裡反而會覺得超級平靜。

我們平常都得逼自己當個情緒穩定的人，隱藏自己的「獠牙」。這首歌像是一個情緒出口，發洩完之後再重新找回面對明天的力氣。

亨利：上山《如夢石》

這首歌在編曲上從平靜到兇狠，對於我來說很像在為一件事情吶喊的感覺，對於最近的我來說這首歌蠻符合我的心境的。

[Interview] Seizer — Unwritten Lines: Tracing the Marks Left by Time

Formed in 2024, Taiwanese band Seizer comprises vocalist and principal songwriter Jay, guitarist and producer Seal, guitarist and backing vocalist Kay, bassist Henry, and drummer Daniel. Following their debut album Human Nature Is Cheap, the band returned with their second album, Unwritten Lines, continuing to explore different facets of human nature, relationships, and everyday life.

From the direct confrontation with human desire on their debut to the new album’s reflections on loss, forgetting, and the everyday, Seizer continues to turn their observations and experiences into music.

In this interview, we talk about the origins of Unwritten Lines, how “Carpe diem” became a turning point in shaping the album’s concept, and the band’s exploration of new sounds, including metal influences. We also discuss their creative process, collaborations with other musicians, and what performing overseas has taught them about their own music.

From the making of individual songs to the band’s evolution over the past two years, we take a closer look at Unwritten Lines and how Seizer uses music to document the lives and thoughts of the people they are today.

Seizer
Second Album: Unwritten Lines

Digital Release: 9 September 2026
Physical Release: 9 October 2026

Q1: Since forming in 2024, Seizer have released two albums. The debut, 人性本賤, confronts human desire head-on, while their second album, 缺頁的名冊 (Unwritten Lines), turns its attention to loss, forgetting and regret. Where do you usually find inspiration for your music? How do experiences and observations from everyday life find their way into your songs?

Jay: I don't think inspiration necessarily comes from anything particularly extraordinary. More often, it comes from things in everyday life that we've grown accustomed to, or barely pay attention to at all.

人性本賤 deals more directly with desire, jealousy and the darker sides of human nature that we aren't always willing to acknowledge. With Unwritten Lines, I've become more interested in relationships, loss, and the things that ultimately aren't remembered as well as they should be.

For me, songwriting isn't simply a way to release my emotions. I'm more interested in thinking about what lies behind a particular feeling or phenomenon, and what causes it to happen. Why are people always so quick to judge others? Why is it that we sometimes end up becoming the very kind of person we dislike, without even realising it?

I usually start with questions like these, then gradually turn my observations into lyrics. But I don't insist that every song needs to have a fully developed concept. Sometimes it begins with nothing more than a feeling in the moment. I might return to it much later and realise that it has a connection with other songs after all.

That's essentially how Unwritten Lines came together. Many of the songs weren't deliberately written around a shared theme, but once they were finished, I realised they were approaching loss, forgetting, and the fact that life has to go on even when we don't have all the answers, each from a different angle.

So, for me, creating music is an ongoing process of observing and trying to understand the world. There are things I still can't quite make sense of, and that's precisely why I want to record them through my work. How listeners ultimately interpret these songs is up to them. I don't necessarily need to provide an answer to every question. At the very least, I hope the music can bring things that usually go unnoticed back into view.

Q2: The completion of “Carpe diem” became a starting point for the overall concept of Unwritten Lines to take shape. When a song that originally stood on its own begins to inform an entire album, how do you decide how the other tracks should relate to it? Was there a song that initially seemed unrelated to the concept but later became an indispensable part of the album?

Jay: For me, “Carpe diem” was more of a starting point that helped me understand the album differently. It wasn't a song I'd originally planned as the central idea around which the whole record would be built.

Many of the songs on the album were written at different times and in different states of mind. I didn't deliberately insist that every track had to fit a particular theme, because I don't want the creative process to become a matter of deciding on an answer first and then finding material to fill it in. I think that can make a song lose something of its original honesty.

But as more songs accumulated and I began listening to them together, I noticed that although they dealt with different subjects, there seemed to be certain things running beneath the surface. They might be doubts about human nature, reflections on relationships, or things we thought we'd moved on from but that return to our minds at unexpected moments.

“Carpe diem” is particularly important to me because it made me think about how life continues even when we're confronted with someone else's loss, regrets, or even deeply painful experiences. What happened yesterday can become part of everyday life by today. Something that once meant a great deal to one person can gradually disappear from everyone else's memory as time passes.

That gradually became the direction of Unwritten Lines: documenting things that seem insignificant, that haven't been properly acknowledged, or that might eventually be forgotten altogether.

If I had to name a song that later proved indispensable, I would actually find it difficult to single one out. What interests me about this album is that the songs weren't created for one another, yet they developed a connection once they were finished.

I think that's sometimes how creating music works. You don't necessarily know why you're writing certain things at the time. Only when you look back later do you realise you've been returning to similar questions all along. With this album, those thoughts that were originally scattered simply found a place together.

Q3: Every song on Unwritten Lines captures a different emotion or story. Is there a particular lyric or passage that you especially love or feel deeply connected to? Have your interpretations of these lyrics changed over time?

Jay: If I had to choose one, I'd go with “Carpe diem”.

What's special about this song is that it captures some of the ways my outlook on life and music changed after I became an independent musician.

In the past, I might have thought that releasing an album or playing on a bigger stage was something to look forward to above all else. But once you actually reach that stage, you realise that many things you've long dreamed of can gradually become part of everyday life as you work towards them. It's not that they stop mattering. We're just very good at getting used to the things we once desperately wanted.

So, for me, this song isn't simply about documenting ordinary life. It's about asking how we should look at things that have already happened but no longer feel special to us.

As for whether the meaning of the lyrics changes over time, I think it inevitably does. When a songwriter writes something, they might simply be trying to express a particular emotion. But when you sing those words again a few years later, you may realise you've lived through experiences you couldn't understand at the time. The lyrics haven't changed, but the person singing them has.

These days, I'm less inclined to rush to a definitive interpretation of a song. When I write something, I may not fully understand it myself. Sometimes I simply preserve what I'm feeling in that moment. Then, one day, I return to it and discover that those same lines carry other meanings.

That's one of the most interesting things about making music. A song's meaning isn't fixed the moment it's finished. It changes alongside the songwriter's experiences, and listeners bring their own lives to it, finding interpretations we never anticipated.

In a way, writing lyrics allows us to document who we are. But as time passes, those same words can also help us understand ourselves all over again.

Q4: Seizer's music draws on elements of emo rock, grunge and Britpop, while “Taste me Alive” on the new album takes things further by incorporating metal influences. Does this sonic exploration arise from the needs of individual songs, or from a conscious desire to push beyond the band's established sound? When exploring new directions, how do you balance experimentation with the musical identity that defines Seizer?

Seizer: I think it's a bit of both, but the needs of the song itself are more important to me.

I've always felt that genre should serve the music, rather than forcing a song to conform to a particular genre. If a song needs a stronger sense of aggression, we'll look for sounds that suit it. If it calls for a more restrained arrangement with greater space, we shouldn't force it to sound dense and intense just because Seizer's previous music has tended to be more explosive.

With “Taste me Alive”, metal felt like an appropriate choice. The point wasn't simply to make the music heavier. It was to use the weight of the sound, the rhythm and the tension in the arrangement to amplify what the song was trying to express.

As for balancing experimentation with our existing identity, I think the key lies in how we define what makes us recognisable. To me, Seizer isn't simply a combination of emo rock, grunge and Britpop. It's also about the perspective through which we look at the world, and how we turn emotions and contradictions that are difficult to articulate into something powerful.

From confronting human desire on 人性本賤 to reflecting on loss, forgetting and everyday life on Unwritten Lines, we've never been entirely satisfied with simply describing an emotion. We want to keep asking where it comes from and what role we ourselves play in it. I think that's an important part of Seizer's identity, and something we want to express through both our lyrics and our music.

So I don't see experimenting with metal as a departure from Seizer's original sound. Rather than holding on to a fixed musical identity, I'm more concerned with whether the music genuinely serves what a song wants to say, and whether the work is honest while remaining musically compelling.

I hope Seizer won't be confined to any single genre. Our sound can change and our creative direction can continue to expand, but the way we look at human nature, relationships and the world, and our determination to turn those observations into music will remain.

Q5: The album features collaborations with Traveller’s KAI, YUMMY MAN and John Stoniae. How do you decide which songs would benefit from bringing in other musicians? Did any unexpected musical sparks emerge from exchanging ideas and creating music together?

Seizer: When deciding whom to collaborate with, I think we always come back to the song itself. Not every track needs another voice. Some songs benefit from maintaining a more unified narrative, while others can gain new layers when different voices or perspectives enter the picture.

The three collaborations with Traveller’s KAI, YUMMY MAN and John Stoniae each served a different purpose.

“Taste me Alive” has a more forceful musical direction and incorporates metal elements. KAI's contribution gave us the opportunity to develop a more dynamic and powerful expression within the song's existing sonic framework.

“Until the rain” is in a different place emotionally. It focuses more on the movement of emotion and the feelings between people that are difficult to put into words. YUMMY MAN brought another emotional layer to the track, giving its narrative a different sense of breathing room.

Stoniae’s contribution to “Carpe diem” was particularly meaningful to me. The song carries my reflections on life and time, as well as the changes in my outlook since becoming an independent musician. I wanted it to convey the feeling of looking at everyday life differently after having lived through certain experiences. Stoniae's involvement brought another interpretation to that feeling, so the finished song was no longer simply a reflection of my own perspective.

What makes collaboration interesting is that every creator has their own habits and way of understanding things. Faced with the same piece of music or the same emotion, different people may express it in completely different ways. Sometimes you think you already know exactly where a song should go, but once someone else joins in, their voice or approach reveals possibilities you hadn't considered.

For me, collaboration isn't just about exchanging techniques or sounds. It's also about allowing my own ideas to be interpreted differently. We don't necessarily have to control every detail according to our original vision. As long as those different qualities ultimately serve the song and become part of the work, I think it's a valuable experience.

Q6: Seizer's songs are primarily initiated by Jay and Kay, with Seal overseeing production and Daniel and Henry contributing to the arrangements. As a song develops from an initial lyrical and melodic idea into a finished piece, how do you exchange ideas and work through different musical perspectives? Is there a track on the new album that particularly reflects the process of shaping music together?

Seizer: Towards the end of making this album, we realised that each of us had a slightly different idea of what Seizer should sound like, which naturally led to more disagreements.

Take “矯” (Maverick), for example. It was originally titled “我厭惡的流行歌曲” (The Pop Song I Hate). That was the title Jay, who wrote the song, was most satisfied with at the time, because it echoed “你聽過的流行歌曲” (The Pop Song You've Heard) from our debut album. The two songs were intended to reference each other across albums.

But after discussing it as a band, we gradually persuaded Jay that spelling out a concept too explicitly can sometimes leave a work with less room for imagination. That's why we eventually changed the title to “矯”.

Jay: I think that's one of the biggest changes in me over the past two years. I used to think, “I wrote this, so why should I change it?” But I've gradually come to understand that compromise doesn't necessarily mean giving up your own ideas. Sometimes it's about finding a position that everyone can agree on without sacrificing the work itself.

As for having Kay sing “你在的地方” (Where You Are), the song has a very different character from what people might usually associate with us. I wanted Chongyou to sing it because the character in the song was intended to echo the one in “查無此人” (Absence). I imagined Kay's gentler, more delicate voice entering into that dialogue. It also offered us a new direction in terms of how the song could sound.

Q7: Seizer's music often explores contradictions in the real world and the circumstances individuals find themselves in. When you want to incorporate a social issue or observation into a song, how do you balance the specific event with your own emotions? Do you want the song to communicate a clear position, or would you rather leave room for listeners to form their own interpretations?

Jay: I think it's difficult to separate those two things completely, because the very fact that we have an emotional response to a social phenomenon means we already have a certain position on it. But rather than rushing to tell people that I'm right and someone else is wrong, I'm more interested in asking why the phenomenon happens in the first place and whether we might unknowingly be part of it ourselves.

Some of Seizer's songs appear to address social issues on the surface, but what I really want to question often goes beyond an individual's behaviour. I'm interested in the environment that allows that behaviour to happen, as well as the values we've come to take for granted. Simply labelling someone as good or bad doesn't necessarily help us understand what's going on.

When writing, I want a specific event or observation to serve as an entry point, but I don't necessarily want to spell everything out. Sometimes, explaining too much too quickly takes away the room a work could otherwise leave for interpretation. I'd rather use lyrics, imagery and emotion to invite listeners into the question themselves.

That said, leaving room for interpretation doesn't mean I'm unwilling to express a position. I still want the work to have a clear point of view. I just don't think a songwriter needs to do all the thinking on behalf of the listener. A song can take a strong position while still allowing people, drawing on their own life experiences, to arrive at different understandings.

I also think that when we criticise certain phenomena, we should leave room to examine ourselves in return. It's easy to see a problem in someone else and assume we're standing on the right side. In reality, there may be circumstances in which we do the very things we've criticised.

That's why I don't want to write songs as though I'm simply standing at a distance and commenting on the world. Sometimes I want to place myself within the picture and ask whether I've been influenced by the same values, or whether I've ever become the kind of person I disagree with.

As for how listeners ultimately interpret the songs, I'm happy to leave that space to them. I can take responsibility for why I wrote a song, but I can't decide what it should mean to everyone who hears it.

Q8: This year, Seizer performed at Thailand's Monster Music Festival, connecting with audiences beyond Taiwan for the first time on this scale. Did the experience change how you understand your own music? What do you most hope to communicate through your live performances?

Seizer: Performing at an overseas festival showed us what we do well, but also what we're still missing. Things like the scale of the event, stage production, international communication and even how we interact with musicians from other countries. These are areas we didn't necessarily have as much opportunity to recognise while working in Taiwan.

But I don't think that means we have to leave Taiwan to prove ourselves.

If anything, I want Seizer to continue developing what we've built here in Taiwan, and then take it elsewhere when the opportunity comes.

I'm increasingly convinced that meaningful international exchange isn't simply about being able to say you've performed somewhere. It's about what you bring back from the experience, and whether it helps make your music and live performances more distinctive and complete.

Of course, we'd be excited to perform in more places in the future. But our hope is to reach a point where making our own music in Taiwan feels entirely natural, and taking that music to other parts of the world feels just as natural.

To us, that's when Seizer will truly have begun to take flight internationally.

Q9: Unwritten Lines attempts to document people and things that might otherwise be carried away by time, yet life continues to generate new stories. After completing the album, have your understanding of music, the band and yourselves changed? If a future version of Seizer could look back through the music you're making today, what would you hope to see?

Seizer: We're accustomed to measuring the value of something by its results, and that includes creative work. We care about whether our music is seen and understood, and even whether it receives enough of a response. But if something only becomes valuable once someone else recognises it, does that mean the things that go unnoticed are genuinely unimportant?

That's one of the things that makes Unwritten Lines important to me. It has led me to reconsider whether creating music can do more than express ourselves whether it can also preserve a record of things that might otherwise be overlooked. Even if those things don't change anything, that doesn't mean they aren't worth writing about.

As for the band, I think we're still learning how to keep moving forward together. Everyone changes. Our ideas about music, our expectations of life and even our understanding of what the band should be can all differ from when we first started. I don't think a band has to remain exactly as it was at the beginning. But as we change, I hope we can still remember why we started doing this in the first place, and why we're still willing to carry on.

Jay: If Seizer looks back on this album one day, I hope we'll see more than just the work we made. I hope we'll see who we were at that particular stage of our lives: people who took certain questions seriously and honestly left their uncertainties in the music.

I don't necessarily hope that my future self will agree with every line I've written today. If, several years from now, our understanding of the world is exactly the same as it is now, perhaps that would mean we haven't truly changed or experienced very much. But at the very least, I hope we won't gradually lose the ability to ask questions because we're afraid of making mistakes, being misunderstood, or caring too much about how others perceive our work.

For me, the most precious thing about creating music is that it gives us a chance to look back and see how we once understood the world and how we've gradually arrived at where we are today.

Q10: Finally, we'd like each member to recommend a song they have been enjoying recently, or one that holds a special meaning for them, and tell us why they chose it. Whether it's the melody, lyrics, arrangement or the feelings it evokes, we'd love to hear what makes the song meaningful to you.

Jay — “平凡的一天” (Carpe diem)

I think it's easy to focus on the things we haven't yet achieved, always assuming that life will truly begin once we reach the next goal. But I don't think life works that way. Things happen when they happen, and time won't stop to wait for us just because we're not ready.

If this song has taught me anything, it's to accept that some days don't need to be particularly meaningful, nor do they have to produce any tangible results. The difficulty is that, while we're living through them, we often don't realise that we're already in the middle of something worth remembering.

Perhaps many years from now, when we look back on the present, the things we'll remember most vividly won't necessarily be the goals we worked so hard to achieve. They might instead be an ordinary afternoon, an unplanned gathering, or a part of everyday life we once assumed would continue for a long time. By then, we may no longer be able to return to that day.

So I hope “平凡的一天” doesn't tell people that every day has to be made meaningful. Rather, I hope it reminds them that when a day eventually becomes part of the past, they can at least remember that they were once there, living through that moment.

Kay — “星雲飄蕩” (Cradled by the night)

We go through all kinds of difficult experiences in everyday life. Work might leave us exhausted, we might argue with someone, go through a breakup, or simply have a terrible day. Those feelings can make us forget that there are still people around us who love us.

It's a little like looking up at the night sky in a city. With all the lights and other distractions, you might barely see any stars. But they're still there.

I think the people who love us are much the same. This song reminds us that we're loved, even when we can't feel it. Just because we can't see it right now doesn't mean it isn't there.

Daniel: Hebe Tien — “大船” (Lost and Wandering)

This song feels to me like gently watching someone weather a storm before slowly making their way home.

In life, we often feel like ships sailing alone across a vast ocean, having to face unknown storms, sudden rain, and sometimes an overwhelming sense of loneliness. We are constantly urged to keep moving forward, to be brave, to stay strong, yet very few people stop to ask, “Are you tired? Do you want to stop and come ashore for a while?”

There is something almost magical about the melody and lyrics of “大船” It never forces you to feel better right away. Instead, it feels like a wide, welcoming harbour, telling you, “You’ve been through a lot. You’ve done enough. It’s okay to rest now.” It reminds me that no matter how many wounds we carry or how lost we may feel out there, there will always be a safe place deep within us waiting for us to return.

I hope this song can offer the same sense of reassurance to anyone going through a storm, the feeling of being gently held and accepted, knowing that once you have rested enough, you will find the courage to set sail again.

Seal: Loathe — “Fangs”

There’s something particularly fascinating about Loathe’s music. Within their incredibly heavy and explosive walls of sound, they weave in melodies that feel almost dreamlike. Listening to “Fangs” feels like standing at the centre of a storm. The world outside may be filled with wind and rain, but when you are completely surrounded by the sheer destructive force of the sound, you somehow end up feeling incredibly calm.

We are constantly expected to keep our emotions in check and to hide our own “fangs.” This song feels like an outlet for all of that emotion, a place to let it out, before finding the strength to face another day.

Henry: Shang Shan — “如夢石”

The arrangement of this song moves from calm and restrained to fierce and intense. To me, it feels like shouting out for something you deeply believe in. And lately, it has resonated quite strongly with where I am emotionally.

【專訪】蘇珮卿《The Best of the Worst of Times》：在時間裡回望，重新理解曾經的自己

2026-10-16T22:07:01.997+08:00

中文　|　English

「生命必須向前走，理解卻得回頭看。」

從大學時期創作的〈After All These Years〉、二十多歲寫給母親的〈Reunion〉，到疫情期間寫下的〈The Best of the Worst of Times〉，蘇珮卿第三張專輯《The Best of the Worst of Times》收錄了時間跨度長達二十年的作品。

有些歌曲曾經長時間留在電腦裡，有些作品則在多年後重新被拾起。當曾經寫下的聲音再次出現在耳邊，時間也讓這些作品有了新的觀看角度。這張專輯像是一場與過往重新相遇的過程，那些曾經寫下的情緒、記憶與生命片段，在時間推移之後，也有了重新被理解的可能。

這次蘇珮卿與 Benjamin Lazar Davis 及不同背景的音樂家合作，在新的環境與聲音之中重新整理這些作品。從過去到現在，從記憶到當下，她也繼續思考自己與創作之間的關係。

一張專輯，可以收藏歌曲，也可以收藏時間。當我們再次聽見那些曾經的聲音，也許會發現，真正被留下來的，不只是音樂。

《The Best of the Worst of Times》，讓我們跟著蘇珮卿一起回頭看看。

Q1：這張專輯收錄了跨越二十年的作品，從大學時期創作的〈After All These Years〉、二十多歲寫給母親的〈Reunion〉，到疫情期間抗癌時寫下的〈The Best of the Worst of Times〉。這些歌曲誕生於不同的人生階段，這次重新整理作品時，妳是怎麼決定把它們放進同一張專輯裡的？

蘇珮卿：我的電腦裡其實一直存著一些 demo，其中有幾首歌，我常常會想起來，因為它們對我的意義很大。這張專輯裡那些放了比較久的作品，都是這樣的狀態：雖然一直放著，但我心裡都希望，有一天可以把它們發行出來。

相較之下，主題曲〈The Best of the Worst of Times〉是比較近期寫的。在寫這首歌的時候，整張專輯就已經慢慢有了一個輪廓。後來，也就很自然而然地把這些來自不同人生時刻的歌，收進同一張專輯裡。

Q2：專輯文案引用齊克果的話：「生命必須向前走，理解卻得回頭看。」而這張專輯似乎也一直在做這件事，把過去重新拿出來觀看。對現在的妳而言，這次回頭看過去的作品，是不是也成為了一個重新理解自己的過程？

蘇珮卿：我覺得這就是時間很神奇的地方。很多時候，人在當下其實很難看清楚整件事情的樣貌，尤其在一些比較困難的時刻，可能只想著趕快讓它過去。

但時間就像一種原物料，經過它之後，再回頭看同一件事，會有完全不同的感受，也會看見以前沒有注意到的細節，有一些新的體會。這次回頭聽這些作品也是這樣，會重新看見當時的自己，也發現現在的自己已經不一樣了。我覺得這是生命很美的地方。

Q3：〈Reunion〉這次直接保留當年的 demo 放進專輯。經過這麼多年，妳再次聽見那個時期的自己的聲音時，和當年創作這首歌時的感受相比，現在聽見的「思念」有沒有變成不同的東西？

蘇珮卿：我是在一次搬家、整理東西的時候，重新找到這個錄音。聽到的時候，自己也有點驚訝，因為每個階段的自己，唱出來的聲音真的很不一樣，裡面也包含了當時整個人的狀態。像我覺得，2020 年之後的我，不管是唱歌的方式還是人的狀態，跟之前幾乎像是兩個人。

所以再聽到〈Reunion〉，會有一種「哇，原來我以前是這樣詮釋這首歌的」的感覺。我自己很喜歡那個版本，也覺得回頭看見一個跟現在完全不一樣的自己，是很奇妙的事，所以就想把當年的錄音留下來。

思念的感覺的確也變了。當時的思念，對我來說還帶著一些痛苦。現在年紀大了一點，自己的世界也變大、變寬了，很多事情會放在跟以前不一樣的位置。離別和思念並沒有減少，但它們在心裡的位置，變得比較溫柔、比較美好了。

Q4：專輯裡反覆提到，那些曾經覺得很壞的時光，最後可能會成為生命裡的寶藏。但人在經歷低潮的當下，通常很難知道它未來會帶來什麼。現在回頭看，有沒有哪一段曾經艱難的過去，在多年之後才發現，它其實改變了妳看待生活或創作的方式？

蘇珮卿：對我來說，人生最大的轉捩點應該就是 2020 年。那段經歷，我在上一張專輯的訪問裡也提過不少次。很奇妙的是，那時候雖然生活停擺了，我卻過了一段前所未有、很簡單也很幸福的日子。

那段經歷讓我整個人變得柔軟很多，不管是待人處事，或是看待世界、看待自己，都有很大的改變。以前很在意的事情，後來好像也能放鬆一點了。這些改變也很自然地影響了我後來的創作。

Q5：〈Letting Go (and Getting Let Go)〉從 Benjamin 的吉他開始發展，並從《愛心樹》的故事延伸到生命裡「放下與被放下」的課題。回到創作上，這些年妳有沒有發現自己慢慢放下了一些過去創作時很在意的事情？而這樣的改變，又如何影響現在的妳？

蘇珮卿：我覺得「放下跟被放下」是每個人在人生裡都會碰到的事情。對我來說，2020 年真的是一個很大的轉捩點。那一年之後，我開始覺得，能夠繼續創作，是一件額外得到的、原本不一定還能擁有的事情，所以它變成了一個禮物。

以前會很想突破，很想達成什麼，但現在比較不需要去證明自己了。有話想說、有故事想分享，就盡力把它做出來，但不需要刻意，也不需要讓自己很痛苦，好像非得完成什麼才可以。我覺得這是這些年很大的改變。

Q6：這次在洛杉磯錄音，妳和 Benjamin Lazar Davis 以及不同背景的音樂家一起完成這張專輯。從進入錄音室到作品逐漸成形，這次合作的過程是怎麼樣的？有沒有什麼讓妳特別印象深刻的時刻？

蘇珮卿：這次能夠住在錄音室裡，密集地完成一張專輯，是我一直很想做的事情。雖然跟 Benjamin 是第一次合作，但我們的默契很好，音樂上的想法也很自然地接得起來。

最讓我印象深刻的是，專輯裡很多聽起來像合成器的聲音，其實都是我們在錄音室現場取樣做出來的。有些原本是人聲，也有取樣我的長笛。我們還會敲錄音室的牆壁、各種不同的地方，把那些聲音拼成一個 beat。這些都是我以前沒有試過的方式，對我來說很新鮮，也真的非常好玩。

Q7：Cody Byassee 是妳長年的親密伴侶，也是音樂上的合作夥伴。一起創作這麼多年，你們之間是否已經形成某種特別的音樂默契？有沒有一些音樂上的想法或細節，是妳和他一起工作時，往往不需要說太多，他就能理解的？

蘇珮卿：我覺得 Cody 是我人生裡的一個大天使，他真的毫無保留地支持我做的事情。尤其當我陷入糾結，或是卡住的時候，他會聽我抒發，也會陪我把那些想法慢慢理開。

音樂上也是，他非常理解我，所以很多時候，我們的確不需要說太多。一起工作這麼多年，這種默契對我來說很珍貴。

Q8：這次和李英宏合作〈生活中的幽默感〉，兩個原本音樂語言很不一樣的創作者碰在一起。實際合作之後，有沒有什麼是他的創作方式或音樂觀點，讓妳特別欣賞或覺得有意思的？

蘇珮卿：我一直很欣賞英宏，覺得他很有才華，又很帥氣。他的音樂有一種很厲害的平衡：很有台味，但同時又很 modern，這是我很喜歡的地方。所以當我想到〈生活中的幽默感〉想找人合作時，很快就想到他了。

實際合作之後，我覺得他真的駕馭得超好。我非常喜歡他在這首歌裡加入的每一個部分，不只是恰到好處，還很幽默、很有趣，又很好聽。他加入的所有東西，我真的都非常喜歡。

Q9：〈Every Second’s A Treasure〉大約十年前便開始醞釀，直到這次才真正完成。對妳來說，一首歌要等到什麼時候，才會知道「現在是它該被聽見的時候」？

蘇珮卿：〈Every Second’s A Treasure〉最早是我在練大豎琴的時候寫的。一開始的樣子比較古典，有很優美的豎琴和長笛，是一首很陽光、很溫暖，關於愛情的歌。

它原本是想收進第二張專輯的，其實這張裡面有好幾首歌都是。但後來第二張專輯的方向突然出現，就先去做那張了，這些歌也就留在電腦裡。不是刻意要等這麼久，只是一路走著走著，它們就放到了現在。

我覺得有些作品，收起來之後可能就忘了；但有些作品，你再回去聽，還是會帶來新的啟發。這首歌就是這樣。那時候重新聽舊 demo，聽到它就覺得：「哇，我以前寫了這樣的 riff，好喜歡！」

寫它的時候，我還沒有玩那麼多電的效果，後來就想試試看，把這些聲音加進去會怎麼樣。結果越玩越覺得有趣，再加上 Benjamin 在聲響上的創意，就慢慢變成現在的樣子。

所以對我來說，那個時機有點像天時地利人和：剛好要做新的作品，重新聽到這段音樂又有了啟發，也剛好有話想說，它就很自然地到了該被聽見的時候。

Q10：最後想請妳推薦幾首自己很喜歡的歌曲，可以是最近反覆聽的，也可以是一直放在心中的作品。為什麼會特別喜歡這幾首歌？

蘇珮卿：第一首想推薦 Benjamin Lazar Davis 的〈A Love Song Seven Ways〉。剛認識 Benjamin、在聯繫他當製作人的那段時間，我把他的作品聽了一輪，聽到這首就非常喜歡。還有他的樂團 Cuddle Magic 的〈Halloween〉，我也超級愛。

第三首是他們共同的朋友，一位叫 Tōth 的音樂人，他的〈Spiraling〉也是我非常喜歡的一首歌。

我覺得這幾首歌都很有畫面，聲響給我的感覺很像「人生的原聲帶」。這點跟我這張專輯也很接近，就是聽著聽著，好像會回到記憶裡的一些畫面，所以特別喜歡，也想推薦給大家。

Interview | Paige Su - The Best of the Worst of Times

Looking Back Through Time, Rediscovering Who We Once Were

“Life can only be understood backwards, but it must be lived forwards.”

From “After All These Years,” written during her university, and “Reunion,” written for her mother in the twenties, to “The Best of the Worst of Times,” written during the pandemic, Paige Su’s third album, The Best of the Worst of Times, brings together works spanning two decades.

Some of these songs remained on her computer for years, while others were picked up again long after they were first written. When those voices from the past return, time offers a new perspective on these works. In that sense, the album becomes a process of encountering the past once again, allowing emotions, memories, and fragments of life captured in these songs to take on new meanings over time.

For this album, Su also worked with Benjamin Lazar Davis and musicians from different musical backgrounds, revisiting these works through new environments and sounds. Moving between the past and the present, and between memory and the here and now, she continues to explore her relationship with music and the act of creating.

An album can preserve songs, but it can also preserve time. And when we hear those voices from the past again, perhaps we begin to realise that what has truly been left behind is more than just music.

The Best of the Worst of Times invites us to look back with Paige Su.

Q1: The album brings together songs written across two decades, from “After All These Years,” which you wrote during your university, and “Reunion,” written for your mother in the twenties, to “The Best of the Worst of Times,” which you wrote while undergoing cancer treatment during the pandemic. These songs came from very different periods of your life. When revisiting your work for this album, how did you decide that these songs belonged together?

Paige Su: I’ve always had demos stored on my computer. There are a few songs that I would often find myself thinking about because they meant a lot to me. The older songs on this album were all like that. Even though they had been sitting there for a long time, part of me always hoped that one day I would be able to release them.

By comparison, “The Best of the Worst of Times” was written more recently. When I wrote that song, the album had already started to take shape in my mind. So it felt quite natural to bring these songs from different moments in my life together on the same record.

Q2: The album’s liner notes quote Søren Kierkegaard: “Life can only be understood backwards, but it must be lived forwards.” In a way, the album seems to do exactly that, looking back at the past from the present. For you now, has revisiting these earlier works also become a way of understanding yourself differently?

Paige Su: I think that’s what makes time so fascinating. When we’re in the middle of something, it’s often difficult to see the whole picture, especially during difficult periods. Sometimes all you want is for it to be over as quickly as possible.

But time is almost like a raw material. Once you have some distance from an experience, you can look back at the same thing and feel completely differently about it. You notice details you didn’t see before, and you gain new perspectives.

That’s what happened when I listened back to these songs. I could see who I was at the time, while also realising that I’m a different person now. I think that’s one of the beautiful things about life.

Q3: You chose to include the original demo of “Reunion” on the album. After all these years, when you hear your younger self singing that song again, how does the sense of longing feel different from when you first wrote it?

Paige Su: I found the recording while I was moving house and sorting through some things. When I heard it again, I was actually a little surprised, because the way you sing at different stages of your life can sound so different, and those differences also carry the state of who you were at the time. I feel that the person I became after 2020, both in the way I sing and in who I am, is almost like a completely different person from

before.

So when I heard “Reunion” again, I had this feeling of, “Wow, so this is how I used to interpret this song.” I really like that version, and I find it fascinating to encounter a version of myself who feels so different from who I am now. That’s why I wanted to preserve the original recording.

The feeling of longing has changed as well. Back then, that longing still carried a lot of pain for me. Now that I’m a little older, my world has become bigger and wider, and I place things differently in my life. The sense of loss and longing hasn’t become any less, but their place in my heart has become gentler and, in a way, more beautiful.

Q4: The album repeatedly returns to the idea that the times we once thought were the worst can eventually become some of life’s treasures. But when we are going through a difficult period, it’s usually hard to know what it might eventually give us. Looking back now, is there a difficult period in your life that you only realised years later had changed the way you see life or your creative work?

Paige Su: For me, the biggest turning point in my life was probably 2020. I’ve talked about that period quite a bit in interviews for my previous album. What’s interesting is that although life came to a standstill at the time, I actually experienced a period that was simpler and happier than anything I had known before.

That experience made me much softer as a person. It changed the way I treat people, the way I see the world, and the way I see myself. Things that I used to care about so much became easier to let go of. Those changes naturally found their way into my music as well.

Q5: “Letting Go (and Getting Let Go)” began with a guitar part from Benjamin and draws on the story of The Giving Tree to explore the ideas of letting go and being let go. Looking at your creative journey, have you found yourself gradually letting go of things that you used to care deeply about as an artist? And how has that changed the way you create today?

Paige Su: I think letting go and being let go are things everyone encounters at some point in life. For me, 2020 was a major turning point. After that year, I started to feel that simply being able to continue making music was something extra, something I might not have been able to have. So it became a gift.

I used to be very focused on breaking through and achieving certain things. Now I don’t feel the same need to prove myself. If I have something I want to say or a story I want to share, I’ll do my best to make it. But I don’t need to force it, and I don’t need to make myself suffer as if I have to accomplish something at all costs. I think that has been one of the biggest changes for me over the years.

Q6: For this album, you travelled to Los Angeles and worked with Benjamin Lazar Davis and musicians from different backgrounds. What was the process of making the album together, from stepping into the studio to watching the songs gradually take shape? Was there any particular moment that stayed with you?

Paige Su: Being able to live in the studio and work intensively on an album was something I had always wanted to experience. Although it was my first time working with Benjamin, we had a great musical connection and our ideas came together very naturally.

What stayed with me most was the way we created many of the sounds that you might hear as synthesizers on the album. A lot of them were actually sampled in the studio. Some came from vocals, and we also sampled my flute. We would even hit the walls of the studio and different surfaces around us, then piece those sounds together to create beats.

These were all approaches I had never tried before. It felt very fresh to me, and it was genuinely a lot of fun.

Q7: Cody Byassee has been both your longtime partner and a musical collaborator. After creating music together for so many years, do you feel that you’ve developed a particular musical shorthand? Are there certain ideas or details that he can understand when you work together without you having to explain very much?

Paige Su: I feel that Cody is the great angel in my life. He supports everything I do without reservation. Especially when I get caught up in my own thoughts or feel stuck, he listens to me and helps me slowly work through those ideas.

It’s the same with music. He understands me very well, so a lot of the time we really don’t need to say much. After working together for so many years, that kind of understanding is incredibly precious to me.

Q8: On “Daily Humor,” you and DJ Didilong, two artists with very different musical languages, come together. After working with him, was there anything about his creative approach or musical perspective that you particularly admired or found interesting?

Paige Su: I’ve always admired DJ Didilong. I think he’s incredibly talented, and he’s very handsome too. There’s a really impressive balance in his music: it feels distinctly Taiwanese, while also being very modern. That’s something I really love about his work. So when I thought about who I wanted to collaborate with on “Daily Humor,” he came to mind very quickly.

After working together, I felt that he handled the song incredibly well. I love every part he added. Everything felt just right, while also being humorous, playful, and really enjoyable to listen to. I genuinely love everything he brought to the song.

Q9: “Every Second’s A Treasure” began taking shape around ten years ago, but it was only completed for this album. For you, when does a song finally tell you that “now is the time for it to be heard”?

Paige Su: I originally wrote “Every Second’s A Treasure” while I was practising the pedal harp. In the beginning, it had a more classical feel, with beautiful harp and flute parts. It was a bright, warm song about love.

I originally intended to include it on my second album. In fact, there are several songs on this album that I had originally considered for that record. But then the direction of the second album suddenly emerged, so I went on to make that album instead, and these songs stayed on my computer. It wasn’t that I deliberately wanted them to wait this long. They simply ended up here as life moved forward.

I think some songs can sit away and eventually be forgotten. But with certain songs, when you return to them, they still give you new inspiration. This was one of those songs. When I listened to the old demo again, I thought, “Wow, I wrote this riff? I really love it!”

When I originally wrote it, I hadn’t explored electronic effects that much. Later, I started wondering what would happen if I added those sounds to it. The more I experimented, the more fun it became, and Benjamin’s ideas about sound helped shape it further into what it is now.

So for me, the timing was a bit of a matter of everything falling into place. I happened to be making new music, I rediscovered this piece and found new inspiration in it, and I also happened to have something I wanted to say. It naturally arrived at the point when it was ready to be heard.

Q10: Finally, could you recommend a few songs that you personally love? They could be things you’ve been listening to repeatedly lately, or songs that have stayed with you for years. What is it about them that makes you love them?

Paige Su: The first one I’d recommend is Benjamin Lazar Davis’s “A Love Song Seven Ways.” When I first got to know Benjamin

and was reaching out to him about producing the album, I listened through his work, and I immediately fell in love with that song.

I’d also recommend “Halloween” by his band Cuddle Magic, which I absolutely love.

The third is “Spiraling” by an artist named Tōth, who is a mutual friend of theirs. That’s another song I really love.

I think all three songs are very visual. The sounds give me a feeling that’s almost like a “soundtrack to life.” That’s also quite close to what I wanted to achieve with this album. When you listen to them, it feels as though you’re being taken back into certain images and memories. That’s why I love them, and why I wanted to recommend them to everyone.

13Lefty《悲傷五部曲》：找的是愛，還是熟悉的痛？

2026-10-11T00:36:47.036+08:00

社恐創作歌手 13Lefty 在 9 月 4 日推出EP《悲傷五部曲》。五首歌以電子流行、Hip-hop寫一段關係裡的逃避、否認、依賴、推開與懷念；主打〈拜託你不要喜歡悲劇成癮的我〉MV 觀看已破十萬。她說，社恐的人把歌寫完，不是為了躲起來，是為了被聽見。

這張 EP 同時是概念專輯《圍城》的先行作品。標題下的法文「RÊVERIE」指白日夢、出神，以及還沒被叫醒的恍惚。五首歌先前已陸續出現在YouTube，像一頁頁深夜日記；收進同一張作品後，13Lefty 才發現，不同的人、不同的離開，問的都是同一句：「愛我好嗎？」

我在不同的時間寫下這五首歌，以為它們在說不同的感情。後來才發現，我只是替同一件事換了不同的名字，用不同的人、不同的離開方式，尋找一樣的東西。

五首歌，五種悲傷的發生方式

開場曲〈對不起我把你埋葬在海邊的紫色花海〉從逃避開始。紫色花海被寫成一段無法盛開之感情的墓地——月光、大海，以及只能在夢裡擁抱的人。她原以為，只要找到一個沒有別人、沒有明天、也不必回答問題的地方，就能和對方一起逃。

到了〈如果不愛你就好了〉，逃避轉成自我懷疑：愛上的究竟是對方，還是那個過於相似的倒影？當一個人必須透過另一個人，才能相信自己值得被愛，對方離開以後，又該怎麼回到自己？

第三首〈D4U〉把依賴推到近乎獻祭。從 I'll lie for you 到 I'll die for you，表面是義無反顧，底下卻是一次次取消自己的需要，只為換取被留下的可能。

第四首〈拜託你不要喜歡悲劇成癮的我〉整首都在說反話。嘴上是「不要喜歡我」「你應該去擁抱陽光」，沒說出口的其實是：即使我會傷害你，即使最後可能失去彼此，也請你不要走。

13Lefty 並不把「悲劇成癮」解釋成享受痛苦，而是：當痛反覆出現，就慢慢被誤認成深刻、真實，甚至被當成愛本身。

終曲〈Nostalgia〉把音量降下來。凌晨的房間、沒出現的訊息、在不同人身上重疊的舊身影，都指向同一句：“Why does it still feel like home？” 輪迴難停，未必是還愛著某個人，而是那份痛已經長成熟悉的形狀。

不給標準出口，把空白留給聽眾

《悲傷五部曲》沒有安排療癒或告別的句點。13Lefty 比較想呈現的是：一個人如何反覆逃開、依賴、推開，又走回同一種痛裡。

我沒有要在最後告訴你答案，因為我也還沒有答案。但我希望有一天，我們都不用再從痛苦和悲劇裡尋找愛，也不用靠其他人證明自己的存在。

這張 EP 最後留下的，仍是那個近乎哀求的願望——這樣的我，也可以被愛嗎？其餘沒有被說明的部分，她選擇交給聽眾，放進各自的故事裡完成。

關於 13Lefty

13Lefty 是擁有迷幻聲線的新生代創作歌手，音樂融合電子流行、Hip-hop 與 Hyperpop，把幾乎不敢出口的細膩情感寫進強烈節奏。私下深受社交焦慮困擾，卻始終想被認識、想被聽見，也想站上那座自己會害怕的舞台；詞曲、編曲、錄音到混音幾乎一手包辦，用作品把自己堆成一個聽得見的人。

害怕靠近人群的人，一直在準備上台。這一次，13Lefty 選擇先用音樂靠近你。

照片提供/ 我宅有限公司

【專訪】邱淑蟬 EP《無爭》：鬆開束縛，練習活出自己的速度

2026-10-08T19:23:08.571+08:00

中文　|　English

從「如果媽媽也寫日記」開始，邱淑蟬寫下了這張全新的 EP《無爭》。

三首作品從不同角度觸碰成長、界線與自由，也延續她對自身生命經驗的凝視。在創作裡一點一點重新認識自己，也重新理解那些曾經困住我們的東西。

這次再度與蕭賀碩合作，三首歌也在不同聲音與情緒之間展開各自的風景。從迷濛、拉扯，到逐漸鬆開，最後留下的，是一種屬於自己的生命速度。

而當我們談到「自由」時，究竟要先放下什麼，才能真正成為自己？

一起聽邱淑蟬聊聊《無爭》，以及那些關於成長、母親、客語與音樂的故事。

Q1：在介紹〈跼〉時妳說最一開始的用意是：「希望我們永遠不會因為年齡、身份、經歷，而限制了快樂的方法。」妳覺得我們是在什麼時候，開始用這些無形的框架把自己關起來的？妳最近有沒有做過什麼覺得此生無憾的快樂小叛逆？

邱淑蟬：每個人開始有偶包的時期不太一樣，時間點不太確定，但提醒我卸下偶包的契機，是在出社會後遇到的主管，我們會笑他 30 幾歲還很幼稚，他會沾沾自喜地跟我們說：「我心中住了一個 17 歲的青少年」，我很嚮往他那樣的自由自在，成熟智慧和幼稚幽默並存的態度。

八月初去馬來西亞演出，帶了 switch 不過沒多帶搖桿，為了跟大家一起窩在客廳打電動，就在空檔衝去買了搖桿，連續三天無論行程多晚都要打一兩場才睡，我覺得十年過後想起這次的演出回憶，switch 搖桿一定至少排前三，這樣印象深刻的美好回憶竟然只花台幣 2000 塊（還有一點點熬夜的肝）！

還有還有！！因為沒量好電梯尺寸，朋友送的沙發塞不進去，抱著「一起創造難忘的回憶吧」的心情，和男友把 210 cm x 91 cm x 81 cm 的實木沙發搬上 13 樓，心情好後悔又好痛快哈哈哈！

Q2：這張 EP 的創作靈感來自妳寫日記時，突然想到「如果媽媽也寫日記」。在妳動筆寫歌的過程中，有沒有哪一個瞬間，妳突然覺得自己「真正讀懂了媽媽」？

邱淑蟬：我覺得我永遠無法讀懂媽媽。她長在沒有選擇的年代，21 歲結婚、成為母親、扶養四個小孩，而我到 29 歲還能繼續探索自己的心之所向，我們小孩經常拋出「你就做自己啊」，但其實這句話對媽媽沒有意義，如果他知道他自己是誰，他怎麼不會去做呢？所以後來我決定要帶媽媽去「找自己」，去體驗他以前沒機會經歷的事情，ex：去網美咖啡廳（大笑）也許在這個過程中，我也能越來越理解她的束縛和壓抑吧。

Q3：EP 的第二首歌〈扭緪〉描寫的是自我意識萌芽，開始練習重新劃定界線。在現實生活中，說出拒絕往往是最難的一件事。淑蟬自己是在哪一個轉折點，學會了「扭緪」去向外對抗、重新安放自己？

邱淑蟬：出社會以後的成長，很大一部分來自我遇到的人，第一張專輯的製作企劃小隊：小碩、楚芳、啟原，有不足時他們願意和我說真話，並且陪伴我變成更好的模樣，我也在過程慢慢建立了對自己的信心，所以也許不是一個「轉折點」，而是「一段期間」，回頭望時才發現那個不敢與人眼神對視的幼鳥，越來越敢表達自己的聲音。

Q4：這次〈扭緪〉邀請了大象體操鼓手涂嘉欽參與編曲以及鼓的錄製。妳曾提到這是「嘉欽先給一個大概的 beat 妳才開始創作」的「節奏先行」作品。這種被強烈節奏帶領的創作初體驗，有沒有幫妳衝破那些被關起來的想像力？有讓妳在音樂裡變得更「叛逆」一點嗎？

邱淑蟬：我記得隨著嘉欽 demo 寫完這首歌的心情是「痛快」，如果是我自己出發的創作，很難有這麼明確和有力量的動態，所以確實是衝出了自己創作的限制和想像力。

Q5：從〈跼〉的迷濛、〈扭緪〉的拉扯，到〈無爭〉最後走向更開闊的自由。這次在編曲上，你們是怎麼用不同的聲音與樂器，去呈現歌曲各自的情緒與故事？

製作人蕭賀碩：

〈跼〉– 小節線模糊，說話般的人聲 phrasing，交纏的電吉他，從線性的中心軸展開，像光束一般直射，微帶光暈到漸漸放射。最後加入的鼓組用節奏伴著合唱，從迷濛走向開放，是家族一起送走父親的心境。

〈扭緪〉– 節奏組代表父母，電吉他是子女。節奏組相互配合、較量、輔助與未必按照牌理。人聲 humming 帶出歌名。最後的副歌子女大聲說出主張，減慢的鼓組是漸緩的腳步。有個架構在錄音室 jam 出來。

〈無爭〉– 跟 demo 的氛圍不同，淑蟬在老家的自彈自唱裡，我聽到不自覺的憤怒。客語跟中文的「無爭」幾乎是相反的意思，想要把這份反差做在編曲中。希望有一天作為女性生理上的、社會性的、自己給的各種束縛，尤其是媽媽們，都能像電吉他的 riff 一樣，抓住耳朵，活出自己的人生速度，跳自己的 disco，跟與生俱來的開放不一樣，那是經過淬煉跟挫折的勇敢，是能夠同理別人的自由。

Q6：經歷了首張專輯《繭的形狀》所獲得的關注，這次妳再度與蕭賀碩老師合作，兩人在錄音室裡的互動有沒有什麼改變？小碩老師這次有沒有給妳什麼音樂啟發？

邱淑蟬：我和小碩在第一張專輯後就一直保持很緊密的聯繫，很多音樂、成長、情感上的困惑與煩惱，都會想和他討論，所以當《無爭》的創作出來時，我幾乎不需要解釋，他就能理解創作背後的糾結與故事，這讓我們在進錄音室配唱時非常有效率，很快就能接到彼此的球！

Q7：淑蟬自己現在在日常生活中，如果感到被束縛時，妳有什麼專屬的方法可以分享給大家？

邱淑蟬：找個安靜的地方想些快樂的事，例如說我很常幻想，等等，我覺得我們可以說是「思考」，思考自己發票中 1000 萬，扣掉印花稅和所得稅後要怎麼分配，或是要買什麼樣的房子、怎麼裝潢，我相信心想事成這個成語是有力量的。（一臉正經講屁話）（怎麼辦在括弧打字是不是很 LKK）（但我無法控制）（光用想的就好開心）

Q8：音樂給人力量，對妳來說，客語給了妳什麼樣的力量與超能力？

邱淑蟬：在客語創作的過程中發現，原來「美濃」有屬於自己的腔調和用字，隨著和不同腔調的客語創作者交流，才體會到用母語創作已經很不容易，能保留自己家鄉的腔調更令人感動！也許有一天，我們真的再也說不到客語，但至少我用音樂留下了可以考古的聲音和記憶，只要想到這個，我就覺得自己在做一件很值得的事情。

Q9：接下來即將迎來巡迴專場演出，妳最期待在現場與歌迷產生什麼樣的連結？

邱淑蟬：如第一張專輯的願望——希望大家在某些時刻，能被我的創作陪伴到。

Q10：最後，可以分享妳最近重複播放、能讓妳感到自由的幾首私房歌曲嗎？

邱淑蟬：單依純〈我管不住我自己〉、鄭宜農〈人如何學會語言〉、Olivia Dean 〈Man I Need〉

[Interview] Shuchan Chiu on Her New EP Metamorphosing

Letting Go of Constraints, Learning to Live at Her Own Pace

It all began with the thought, “What if my mother kept a diary?” From there, Shuchan Chiu began writing her new EP, Metamorphosing.

Across its three tracks, the EP approaches growth, boundaries and freedom from different perspectives, continuing Chiu’s ongoing reflection on her own experiences. Using music as a way to gradually rediscover herself, and to better understand the things that once held her back.

Reuniting with producer Shuo Hsiao, the three songs unfold through distinct sounds and emotional landscapes. From a sense of uncertainty and tension to gradually letting go, what remains is ultimately a pace of life that belongs entirely to her.

But when we talk about “freedom”, what do we have to let go of before we can truly become ourselves?

Shuchan Chiu shared with us about Metamorphosing, as well as the stories of growth, family, language and music behind the EP.

Q1: When introducing “跼”, you said its original intention was: “I hope we never let age, identity or experience limit the ways we find happiness.” When do you think we start putting these invisible frameworks around ourselves? Have you done anything recently that felt like a small act of rebellion you’ll remember for the rest of your life?

Shuchan Chiu: I think everyone develops their own sense of self-consciousness at a different age, so I’m not sure exactly when it happens. But one person who reminded me to let go of that was a manager I had after entering the workforce. We used to laugh at him for being so childish in his thirties, and he would proudly tell us, “There’s a 17-year-old teenager living inside me.”

I really admired that sense of freedom, the way he could be mature and wise while still being childish and humorous at the same time.

When I went to Malaysia for a performance at the beginning of August, I brought my Switch but didn’t bring an extra controller. I wanted to sit around in the living room and play games with everyone, so during a break in the schedule, I rushed out to buy one. For three days in a row, no matter how late we got back, we had to play one or two rounds before going to bed.

I feel like, ten years from now, when I look back on that performance trip, the Switch controller will definitely be among the top three things I remember. It’s amazing that such a memorable and happy experience only cost NT$2,000, and a little bit of sleep!

And there’s more!! We didn’t measure the elevator properly, so a sofa a friend gave us wouldn’t fit inside. With the attitude of “Let’s create an unforgettable memory together,” my boyfriend and I carried a solid-wood sofa measuring 210 cm × 91 cm × 81 cm all the way up to the 13th floor.

I was so full of regret, but it was also incredibly satisfying. Hahaha!

Q2: The inspiration for this EP came from a thought you had while writing in your diary: “What if my mother kept a diary?” While writing these songs, was there ever a moment when you felt you had truly understood your mother?

Shuchan Chiu: I don’t think I’ll ever truly understand my mother.

She grew up in a time when there weren’t many choices. She got married at 21, became a mother and raised four children. Meanwhile, even at 29, I still have the freedom to explore what I want to do with my life.

We children often tell our parents, “You should just be yourself.” But that sentence doesn’t really mean anything to my mother. If she knew who she was, why wouldn’t she have simply been herself?

So eventually, I decided that I wanted to take my mother on a journey to “find herself”, to experience things she never had the opportunity to experience before, like going to trendy cafés. [laughs]

Maybe through that process, I’ll gradually come to understand her constraints and the things she had to suppress as well.

Q3: The second track, “扭緪”, explores the awakening of self-awareness and the process of learning to redraw your own boundaries. In everyday life, saying no is often one of the hardest things to do. Was there a particular turning point when you learned to “扭緪”, to push back against the outside world and find your own place again?

Shuchan Chiu: A lot of my growth after entering the workforce came from the people I met. The production team behind my first album, Shuo, Chufang and Chiyuan, were willing to tell me the truth whenever they felt I was lacking in some way, and they stayed by my side as I worked towards becoming a better version of myself.

Through that process, I gradually built confidence in myself.

So perhaps it wasn’t one particular “turning point”, but rather “a period of time”. Looking back, I realised that the timid little bird who once couldn’t even make eye contact with people had gradually become more willing to speak up and express her own voice.

Q4: For “扭緪”, you invited Chia-Chin Tu, drummer of Elephant Gym, to contribute to the arrangement and record the drums. You’ve mentioned that it was a “rhythm-first” song, where Chia-Chin first gave you a rough beat before you began writing. Did being led by such a strong rhythmic foundation help you break through some of the limitations you had placed on your imagination? Did it make you a little more “rebellious” in your music?

Shuchan Chiu: I remember finishing the song along with Chia-Chin’s demo and feeling this sense of “痛快”, a kind of exhilarating release.

When I start a song entirely on my own, it’s difficult to create such a clear and powerful sense of movement. So yes, it definitely pushed me beyond the limitations of my own creative process and imagination.

Q5: From the haziness of “跼” and the tension of “扭緪” to the more expansive sense of freedom at the end of “無爭”, how did you use different sounds and instruments in the arrangements to express the emotions and stories of each song?

Producer Shuo Hsiao:

“跼” — The bar lines are blurred, with vocal phrasing that feels almost conversational and intertwined electric guitars. Everything develops from a linear central axis, like a beam of light shooting straight ahead, gradually expanding with a subtle halo around it. The drums that enter towards the end accompany the chorus with rhythm, taking the song from a hazy state towards openness. It reflects the emotional state of a family coming together to see their father off.

“扭緪” — The rhythm section represents the parents, while the electric guitar represents the children. The rhythm section interacts, competes and supports one another, without necessarily following the expected rules. The vocal humming introduces the title of the song. In the final chorus, the children loudly declare their position, while the slowing drums represent their gradually slowing footsteps. The structure emerged naturally through a jam session in the studio.

“無爭” — The atmosphere is quite different from the demo. When I heard Shuchan singing and playing the song by herself at her family home, I could hear an anger that she wasn’t necessarily conscious of.

In Hakka, “無爭” carries almost the opposite meaning from the same phrase in Mandarin, and I wanted to bring that contrast into the arrangement.

I hope that one day, the various forms of constraint placed on women—physical, social, and those we impose upon ourselves—especially for mothers, can be broken. I wanted them to be like the electric-guitar riff: something that catches your ear, allowing you to live at your own pace and dance to your own disco.

Unlike an openness that comes naturally, this is a kind of courage forged through hardship and setbacks. It is a form of freedom that also allows you to empathise with others.

Q6: After the attention your debut album Shape of Life received, you’ve reunited with Shuo Hsiao for this EP. Has anything changed in the way the two of you interact in the studio? Did she give you any particular musical inspiration this time around?

Shuchan Chiu: Shuo and I have stayed very closely connected since my first album. We talk about all kinds of things—music, growth, emotional struggles and the things that worry us—so when the ideas behind No Struggle began to take shape, I barely needed to explain anything. She could already understand the conflicts and stories behind the songs.

That made the vocal recording process incredibly efficient. We could pick up the ball from each other almost immediately!

Q7: When you feel constrained in everyday life, do you have any personal method for dealing with that feeling that you could share with us?

Shuchan Chiu: Find somewhere quiet and think about something happy.

For example, I often fantasise about winning NT$10 million. I mean, we could call it “thinking”. I think about how I’d divide it up after stamp duty and income tax, what kind of house I’d buy, how I’d decorate it…

I believe there’s some power in the idea that what you wish for can come true.

[says this with a completely straight face while talking absolute nonsense]

[Wait, is typing things in brackets like this really LKK?]

[But I can’t control it.]

[Just thinking about it makes me so happy.]

Q8: Music can give people strength. For you, what kind of strength or superpower does the Hakka language give you?

Shuchan Chiu: Through creating music in Hakka, I discovered that Meinong has its own particular accent and vocabulary.

After connecting with Hakka artists from different linguistic backgrounds, I realised how difficult it already is to create in your mother tongue. Being able to preserve the accent of your own hometown makes it even more moving.

Maybe one day we really won’t be able to speak Hakka anymore. But at least I can leave behind sounds and memories through music, something that can almost be archaeologically excavated in the future.

Whenever I think about that, I feel that I’m doing something truly worthwhile.

Q9: You’re about to embark on a tour of headline shows. What kind of connection are you most looking forward to creating with your audience in person?

Shuchan Chiu: Just as I hoped with my first album, I hope that at certain moments in their lives, my music can be there to accompany them.

Q10: Finally, could you share a few songs you’ve been playing on repeat recently, songs that make you feel free?

Shuchan Chiu: Shan Yichun “I Can’t Control Myself”; Enno Cheng “How Does One Learn a Language”; and Olivia Dean “Man I Need”.

Robot Swing 倫敦首演：讓意外成為音樂的一部分

2026-10-04T23:30:06.187+08:00

來自台灣的四人器樂樂團 Robot Swing，由昭元（鍵盤、合成器）、聿民（鼓）、恩立（貝斯）與惟農（吉他、聲碼器）組成。9 月 28 日登上倫敦 The Grace 的舞台，與英國當代爵士六重奏 Happy Garden 及 Cosmos Zero 一同演出。這是 Robot Swing 首次來到倫敦的演出，也串起了台灣與英國音樂人之間的交流。

現場也能看到 zine.furyo 不良雜誌發送的報紙與小誌，讓觀眾在音樂之外，也能循著這些紙本作品，進一步走進 Robot Swing 的機器人宇宙。

演出由 Cosmos Zero 與 Happy Garden 先後暖場，替夜晚逐漸升溫。鍵盤手昭元此前已提前抵達倫敦，也正是透過當地的 jam sessions，與 Happy Garden、Cosmos Zero 建立起這次合作的連結。

Happy Garden 熱烈地與台下互動，甚至邀請全場蹲下齊跳，又突然引導大家開圈狂歡，讓原本只是觀看演出的觀眾逐漸成為現場的一部分。倫敦觀眾也很快投入其中，跟著音樂一起舞動，讓整個場地變成一個不斷流動的空間。

Robot Swing 也無預警地加入 Happy Garden 的即興演出，在不同音樂語言之間來回碰撞。還沒等 Robot Swing 正式登台，跨國合作的火花便已經先在舞台上發生。

接著，Robot Swing 正式登場。

開場曲〈Robot Revolution〉沒有太多鋪陳，四個人直接把音樂推向前方，充滿強烈的節奏與衝擊感。時而透過聲碼器發出機器人的宣言，搖滾、放克與爵士等元素交錯其中，節奏不斷變化，四個人的演奏像彼此丟接球一樣，自由地來回移動。

而這種「不按牌理出牌」的現場感，也很快感染了台下。

如果說前一刻的 Robot Swing 正把現場推向舞池，那麼〈Deep Breath〉則讓時間突然慢了下來。

音樂變得舒緩，團員邀請大家放鬆、深呼吸，像是進入一段短暫的冥想。這種強烈的節奏轉換，也正是 Robot Swing 現場有趣的地方：他們不只是一路把情緒推高，也能隨時改變方向，讓觀眾不知道下一秒會發生什麼。

而真正的「意外」，發生在〈Robot in No Man’s Land〉。

演奏途中，惟農的吉他突然斷弦。對許多樂團來說，這可能意味著演出必須暫停，但 Robot Swing 沒有停下來。惟農直接向 Cosmos Zero 與 Happy Garden 求援，臨時借來吉他繼續演出。

這場突如其來的小插曲沒有破壞演出的流動，反而成為當晚最令人印象深刻的片段之一。更有趣的是，斷掉的琴弦最後也沒有被浪費。惟農把它留了下來，最後送給台下呼聲最高的觀眾。原本可能讓人緊張的「當機」，最後反而成了台上台下共同擁有的一個紀念品。

對 Robot Swing 來說，現場的意外並不一定是需要避免的事情，有時候反而會讓四個人進入更即時的反應狀態。那些無法預測的變數，也正是每一場演出只會發生一次的原因。

Robot Swing 也邀請 Cosmos Zero 上台合作。帶著極具個人魅力的即興快嘴饒舌，玩味十足的表演搭配 Robot Swing 的演奏，讓現場氣氛一路推向最高點。

到了尾聲，Robot Swing 帶來的是 1979 年英國前衛搖滾樂團 Supertramp 的經典作品〈Goodbye Stranger〉。在倫敦演出這首作品，似乎也多了一點特別的意味。當熟悉的旋律透過 Robot Swing 的編制重新出現，也像是他們與這座城市的音樂文化進行了一次短暫的對話。

但觀眾顯然還不打算讓今晚結束。

安可曲〈Taiwanese Football〉再次把現場拉回熟悉的 Robot Swing 節奏。從台灣一路來到倫敦，經過不同音樂人的加入、即興、意外與碰撞，最後仍然以屬於自己的音樂收尾。

演出結束後，現場也沒有立刻散去。

不少樂迷拿著海報留下來等待簽名，團員們也親切地和大家聊天。直到場地準備關門，這台來自台灣的「機器人」才終於結束了在倫敦的一晚。

在演出前的專訪裡，我曾問 Robot Swing，什麼樣才算是一場理想的演出。

昭元的回答是：「台上台下都覺得今天這場只會發生一次，那就是最好的演出。」

9 月 28 日的倫敦，或許正是這樣的一晚。

有即興、有舞動，有意外，也真的有一點「當機」。但 Robot Swing 沒有試著把這些變數藏起來，而是讓它們成為演出的一部分。

當一根琴弦斷掉、當下一個聲音無法預測，音樂並沒有因此停止。

它只是繼續往前。

Robot Swing’s London Debut: Letting the Unexpected Become Part of the Music

On 28 September, Taiwanese instrumental quartet Robot Swing took the stage at The Grace in London, performing alongside British contemporary jazz sextet Happy Garden and Cosmos Zero.

From Happy Garden’s improvised set to the ever-shifting rhythms of Robot Swing’s performance, the night was full of spontaneous exchanges between the musicians and the audience. At times relaxed, at times intense, the music kept moving in unexpected directions as the four members responded to one another in the moment.

For Robot Swing, a live show is never simply about replaying the songs. It is about creating something together in the moment with each other and with the audience, making every performance something that can only happen once.

For their London debut, this Taiwanese “robot” left behind a night of its own in a new city.

Taiwanese instrumental quartet Robot Swing consists of ZAOYUAN (keyboard & synthesizer), FlyingPP (drums), NZ (bass), and Wei-Nong (guitar & Vocoder). On 28 September, they took the stage at The Grace in London, performing alongside British contemporary jazz sextet Happy Garden and Cosmos Zero. It marked Robot Swing’s first performance in London, while also bringing together musicians from Taiwan and the UK through music.

Also present at the venue was zine.furyo, the independent “Furyo” magazine, distributing its newspapers and zines. Beyond the music, these printed works offered another way for the audience to step into Robot Swing’s robotic universe.

The evening began with opening performances from Cosmos Zero and Happy Garden, gradually warming up the room. Keyboardist ZAOYUAN had arrived in London ahead of the rest of the band, and it was through local jam sessions that he connected with musicians from Happy Garden and Cosmos Zero, laying the groundwork for this cross-border collaboration.

Happy Garden brought plenty of interaction with the crowd, at one point inviting everyone to crouch down and jump together before suddenly opening up a circle for everyone to dance. The audience quickly joined in, turning from spectators into part of the performance and transforming the venue into a constantly shifting space.

Robot Swing then unexpectedly joined Happy Garden for an improvised performance, bringing different musical languages together in real time. Before Robot Swing had even officially taken the stage, the spark of this cross-border collaboration had already happened.

Then, Robot Swing took the stage.

The opening track, “Robot Revolution”, wasted little time with introductions. The four musicians immediately pushed the music forward with a powerful sense of rhythm and impact. At times, a vocoder gave voice to the robots’ declarations, while rock, funk and jazz intertwined throughout. The rhythm kept shifting, with the four musicians throwing musical ideas back and forth like a game of catch, moving freely between one another.

That sense of unpredictability quickly spread to the audience.

If Robot Swing had just pushed the room towards the dance floor, “Deep Breath” suddenly slowed everything down.

The atmosphere became calm and spacious as the band invited everyone to relax and take a deep breath, almost like entering a brief moment of meditation. This sharp change in mood is part of what makes Robot Swing’s live shows so engaging: rather than simply building towards a constant peak, they can change direction at any moment, leaving the audience wondering what might happen next.

The real “unexpected moment”, however, came during “Robot in No Man’s Land”.

Midway through the performance, guitarist Wei-Nong broke a guitar string. For many bands, that might mean stopping the show, but Robot Swing simply carried on. Wei-Nong called on Cosmos Zero and Happy Garden for help, borrowing a guitar and continuing the performance.

The sudden interruption did nothing to break the flow of the show. Instead, it became one of the night’s most memorable moments.

And the broken string did not go to waste either. Wei-Nong kept it and eventually gave it to the audience member who received the loudest cheers. What could have been a stressful moment of “system failure” instead became a small keepsake shared between the stage and the crowd.

For Robot Swing, unexpected moments are not necessarily something to avoid. Sometimes, they push the four musicians into an even more immediate state of reaction. Those unpredictable variables are precisely what make each performance something that can only happen once.

Robot Swing later invited Cosmos Zero back on stage for a collaboration. With his distinctive, rapid-fire improvised rap and playful presence alongside Robot Swing’s musicianship, the energy in the room reached its peak.

Towards the end of the set, Robot Swing performed “Goodbye Stranger”, the 1979 classic by British progressive rock band Supertramp. Performing a British classic in London seemed to give the moment an added sense of significance. As the familiar melody re-emerged through Robot Swing’s instrumentation, it felt like a brief musical conversation between the band and the city’s musical culture.

But the audience clearly was not ready for the night to end.

For the encore, Robot Swing returned with “Taiwanese Football”, bringing the room back to the familiar Robot Swing groove. From Taiwan to London, through collaborations, improvisation, unexpected moments and musical collisions, the night ultimately came to a close with something unmistakably their own.

The venue did not empty immediately after the show.

Many fans stayed behind with posters, waiting for autographs, while the band chatted warmly with the audience. ZAOYUAN continued greeting people until the venue was preparing to close, finally bringing Robot Swing’s first London night to an end.

In our interview with Robot Swing ahead of the show, we asked what an ideal performance would look like.

ZAOYUAN answered: “When everyone on stage and in the audience feels that this performance can only happen once, that’s the best kind of show.”

Perhaps that was exactly what happened in London on 28 September.

There was improvisation, dancing and the unexpected, and, yes, a little bit of “system failure”. But Robot Swing never tried to hide those variables. Instead, they made them part of the performance.

When a guitar string breaks, when the next sound cannot be predicted, the music does not stop.

It simply keeps moving forward.

📷 credit 土豆 Kim @take1_ dou

【專訪】禪波ZENBØ：吹散灰塵之後，重新看見自己

2026-10-02T19:00:00.000+08:00

中文　|　English

禪波 ZENBØ 第三張創作專輯《DUST BLOWING》於 10/1 正式發行！

從《怪胎大雄》、《咖啡氤》一路走到全新第三張專輯，這一次，他選擇卸下過去創作裡的角色與包裝，更直接地把自己放進音樂裡，直面生活，也直面自己。

面對生活裡突如其來的變化，他將焦慮、傷痕與情緒放進音樂裡，記錄一段從「致鬱到治癒」的過程，也在創作之中重新整理自己。

這次專訪，好青年與禪波談到《DUST BLOWING》背後的創作，也分享了關於愛、關係，以及這段時間如何重新看見自己的故事。

Q1：過去的《怪胎大雄》與《咖啡氤》，無論在音樂或視覺上，都有非常鮮明的世界觀與角色感。到了第三張專輯《DUST BLOWING》，你說這是一張「比起以往都更加誠實直面」的作品。回頭看這三張專輯，你覺得《DUST BLOWING》最大的轉變是什麼？又是什麼讓你決定這一次少一點包裝，直接把自己放進作品裡？

禪波ZENBØ：會做出這樣的轉變，源自於今年年初家人因為車禍受傷，讓我意識到現實仍然會隨著時間的流逝不斷改變。以往的我總是在幻想之中創作，我覺得是時候認清現實了，不再只是在幻想裡設計情境，而是更成熟、直接地去面對生活中的問題。

前兩張專輯更多的是妄想與渴望，透過角色形塑與各種創作元素，去暗喻我對現實生活的想像。但這一次，我想試著卸下這些包裝，更從本我的角度出發，去抒發這段期間真正的心情。

Q2：你形容《DUST BLOWING》記錄了自己從「致鬱到治癒」的過程，是一部關於創傷的後日談。專輯名稱《DUST BLOWING》有「吹散灰塵」的意象，而你也提到自己試著拂去身上的灰塵、重新整理迷失的自己。這裡的「灰塵」對你而言，具體來說是什麼？當這些灰塵慢慢被吹散之後，你覺得自己有變得比較輕嗎？

禪波ZENBØ：這就要提到我去年發行的迷你專輯《CASH BURNING》。當時是以生存壓力作為創作靈感，以資本作為整張作品探討的主題，而當金錢燃燒殆盡之後，最後徒留一地灰燼。《DUST BLOWING》正是延續同一個概念的續篇。

在錄製這張專輯的過程當中，我其實沒有特別感受到自己變輕了，反而是在專輯完成的那一刻，才突然有了這樣的感覺。最一開始的焦慮，在我試著透過歌曲與自己對話的過程中，也慢慢被療癒了。

Q3：〈三分鐘熱度〉用復古又跳躍的 Miami Bass 節奏來裝載現代人的「速食愛情」，當初是怎麼構思出這首歌的？寫完之後，你是怎麼發現阿橘 Ahh G 的聲音適合這個作品？

禪波ZENBØ：當初和 chillaxe 製作這首歌的時候，其實我是拿了 NewJeans、KiiiKiii 等韓團的歌給他當作參考。剛好那段時間，很多歐美歌手也開始發行這類型的作品，像 Drake、Tyler, The Creator、Ty Dolla $ign、JID、Metro Boomin 等，當時台灣也比較少有歌手在做這種曲風，所以我就想當那前幾個去做的人。這樣後面才開始抓到這個趨勢的人，就只能先看著我做了。

至於阿橘 Ahh G 的加入，其實一開始我是找他來做專輯其他歌曲的和音。他的聲音有一種 Ariana Grande 般的質感，而我剛好需要在〈三分鐘熱度〉裡加入這種有甜度、同時又具備穿透感的聲音。所以在做完和音之後，我馬上就決定再找他來錄〈三分鐘熱度〉了！

Q4：夢幻單曲〈Destined〉找來南西肯恩的女主唱南西跨界合作，從〈三分鐘熱度〉的速食拉扯，走向了一種更深刻、宿命感的探討。可以和我們分享這首歌的創作概念嗎？當初為什麼會想到找南西合作，而她的加入又替這首歌帶來了什麼不同的化學反應？

禪波ZENBØ：這首歌是在製作人 YONG 的房間裡完成的，大概花了兩個小時就寫完了。當時的想法比較偏向 Mac Miller 或 Frank Ocean 的風格，我想做一首輕輕柔柔的旋律，不想加入太多饒舌的部分。那段時間的我很想多做一些臥房音樂感比較濃厚的作品，也想展示自己比較柔軟的一面。

我覺得人與人的相遇，不論是友情還是愛情，都是一種緣分的連結，當時就是抱著這樣的心情去創作這首歌。南西則是在一次品牌活動上認識的，後來我邀請她來合唱這首歌，她也很爽快地答應了。

我覺得她的聲音有一種純潔、神聖又乾淨的感覺，直到錄音完成、第一次聽到成品的時候，我真的覺得這首歌正在發出強烈的聖光……

Q5：〈三分鐘熱度〉談的是渴望自由、害怕暈船的拉扯，而這張專輯也觸及愛情、不安全感與對未來的想像。回頭看這些創作，你覺得自己在感情裡最在意、也最想弄清楚的事情是什麼？創作完這張專輯後，你對「愛」這件事情有沒有產生新的理解？

禪波ZENBØ：我在感情裡面通常都是被呵護的那一方，而我最在意的，其實是對方的目光，以及兩個人全心為彼此付出、卻不求回報的那種情感。

創作完這張專輯之後，我對於「愛」的定義，反而更接近「分享」。是一種不論遇到什麼事情，都會下意識想著「這裡也有對方的一份」的心情。以前的我比較容易只想到自己，但當真正碰觸到愛之後，也開始變得更懂得替對方著想。

Q6：做完《DUST BLOWING》之後，如果要把這張專輯當成一面鏡子，你覺得它讓你看見了一個什麼樣的禪波ZENBØ？這次創作有沒有推翻你過去對自己的某些想像，或是讓你重新面對一些原本以為已經走過的事情？

禪波ZENBØ：透過這張專輯，我看見了一個用盡全力掙扎，但還得保持微笑與風度的禪波ZENBØ 。

如果說人生是一款遊戲的話，這段時間的我應該是用著 HP 低於 10% 的狀態，在面對各種挑戰。然而也正是在這樣的過程裡，我慢慢學會了在險境中絕處逢生的技能。

從一開始的苟延殘喘，到慢慢調整自己的呼吸，即使已經疲憊不堪，滿是傷痕的雙腳卻還是不曾停下來。

Q7：第三首先行單曲〈氛囲気〉將於 9 月 24 日全球數位發行，可以和我們介紹這首歌的創作背景嗎？它又代表著《DUST BLOWING》的哪一面？

禪波ZENBØ：這首歌是在 Bradd 的工作室完成的。我記得他的工作室在大直，離我滿遠的。那天晚上我們剛好要去中山參加活動，開車前往中山的路上遇到大塞車，我看著高速公路上的車燈和夜景，不自覺地就哼出了這樣的旋律。

隔天我們再約了一天到工作室，就這樣憑著直覺把〈雰囲気〉寫完了。這首歌代表的是《DUST BLOWING》比較藍色的那一面，帶著一點夜色的幻想，有點想沉浸在這樣的氛圍裡，暫時逃避現實的一種妄想。

Q8：有沒有可能像新北 CITY POP 市民 KTV 系列一樣，未來也做一個 Miami Bass 或其他風格的系列。如果要挑經典華語快歌去改編，你腦袋裡浮現的會是哪首歌？

禪波ZENBØ：比起沿用新北 CITY POP 市民 KTV 的模式，我個人還是比較偏好可以跟更多 DJ 合作，讓這樣的曲風真正進到舞池與 Club 裡播放。

另外也推薦大家可以去禪波ZENBØ 的 Spotify 頁面，我有準備一個 Miami Bass 曲風的 Playlist，大家可以好好感受一下這種樂風的能量！

Q9：10 月 5 日即將前往東京參與《Two Waves》演出企劃，你最期待日本樂迷對你的嘻哈音樂產生什麼樣的化學反應？10 月 10 日也將到高雄參與打狗祭，接下來會有個人專場的計劃嗎？

禪波ZENBØ：去年十二月剛好也在同一個地方看了 Leo 王的演出，所以這次能夠前往日本演出真的非常興奮。希望可以透過音樂跨越語言的隔閡，讓更多日本聽眾認識台灣有禪波ZENBØ 這樣風格的歌手。

至於個人專場的計劃，目前還在討論中。當然還是希望聽眾可以多多支持、多聽禪波ZENBØ，也希望廠商和演出單位能夠多找禪波ZENBØ 演出。有了足夠的粉絲規模與演出經驗之後，才有機會進一步討論個人專場的計劃。

Q10：最後想請禪波ZENBØ 和我們分享，你最近重複播放的幾首歌曲或推薦的歌手？

禪波ZENBØ：Brent Faiyaz〈four seasons.〉、Future〈California Girls〉、Erykah Badu〈Witch Doctor〉、Jorja Smith〈I Lied, You Lied〉

🌬️《DUST BLOWING》專輯曲目 TRACK LIST：

① INTRO

② BLUE GRAY Feat.highlee

③ 雰囲気 Feat.鄭雙雙SherryZ

④ 三分鐘熱度 Feat.阿橘 Ahh G

⑤ DESTINED Feat.Neci

⑥ 中中

⑦ DEEPER

⑧ SKY DROWNING

⑨ GOOD TO SEE U （additional vocal by Trout Fresh /呂士軒）

⑩ OUTRO

⑪ BLOW YOUR MIND Feat.李英宏 aka DJDIDILONG

Interview ｜ ZENBØ: Blowing the Dust Away, Finding Myself Again

From Despair to Healing: An Honest Look at DUST BLOWING

ZENBØ’s third studio album, DUST BLOWING, was officially released on 1 October!

From GEEKNONOBITA and Caffeine to his latest record, ZENBØ takes a different approach this time, stripping away the characters and layers that shaped his previous work to place himself more directly at the centre of the music, confronting both life and himself.

Faced with unexpected changes in life, he channels his anxieties, scars and emotions into the record, documenting a journey from despair to healing while using the creative process to make sense of himself along the way.

In this interview, ZENBØ shares the creative process behind DUST BLOWING, as well as his thoughts on love, relationships, and the journey of finding himself again.

Q1: Your previous albums, GEEKNONOBITA and Caffeine, both built striking worlds of their own, with distinctive visual identities and characters woven into the music. With your third album, DUST BLOWING, you described it as a record that is “more honest and direct” than anything you have made before. Looking back across these three albums, what do you see as the biggest shift in DUST BLOWING? What made you decide to strip away some of the layers and place yourself more directly into the work?

ZENBØ: This shift came from an accident earlier this year, when a family member was injured in a car accident. It made me realise that reality continues to change as time passes, whether we are ready for it or not. In the past, I was always creating from a place of fantasy. I felt that it was time to acknowledge reality, to stop simply constructing scenarios within my imagination and instead face the problems in my life in a more mature and direct way.

My first two albums were more about fantasies and desires. Through character-building and different creative elements, I used them to allude to the way I imagined my real life. This time, I wanted to take off some of those layers and approach the music more from my own perspective, expressing what I was genuinely feeling during this period of my life.

Q2: You have described DUST BLOWING as a record that documents a journey “from depression to healing”, almost like an epilogue to a period of trauma. The title evokes the image of blowing dust away, and you have also spoken about brushing the dust off yourself and trying to put the lost pieces of yourself back together. What does that “dust” represent to you? And once it began to clear, did you feel any lighter?

ZENBØ: To answer that, I have to go back to my mini-album CASH BURNING, which I released last year. The inspiration came from the pressures of survival, with capitalism as the central theme of the record. Once all the money has burned away, what remains is a pile of ashes. DUST BLOWING continues that concept.

While I was recording the album, I didn't particularly feel like I was becoming lighter. That feeling only came to me suddenly when the album was finally completed. The anxiety I had at the beginning gradually started to heal as I used the songs to have conversations with myself.

Q3: “三分鐘熱度” wraps the idea of modern-day fast-food romance in a retro, bouncy Miami Bass groove. How did the song first come together? And after writing it, what made you realise that Ahh G’s voice would be a good fit for the track?

ZENBØ: When I was making the song with chillaxe, I actually gave him tracks by K-pop groups like NewJeans and KiiiKiii as references. Around the same time, a lot of Western artists were also starting to release music in this style—Drake, Tyler, The Creator, Ty Dolla $ign, JID, Metro Boomin and others. There weren't many artists in Taiwan exploring this sound yet, so I wanted to be one of the first to do it. That way, when people eventually caught on to the trend, they would have to watch me do it first.

As for Ahh G, I originally brought her in to provide backing vocals on other songs from the album. Her voice has a quality that reminds me of Ariana Grande, and I needed something sweet but still piercing for “三分鐘熱度”. So as soon as we finished the backing vocals, I immediately decided to bring her back to record the song itself.

Q4: The dreamy single “Destined” features Neci, the lead vocalist of Neci Ken, marking an unexpected collaboration. Moving from the push and pull of a fleeting romance in “三分鐘熱度” towards something deeper and more fated, could you tell us about the concept behind the song? What made you think of working with Neci, and what did she bring to the track?

ZENBØ: We made the song in producer YONG’s room, and I think we finished writing it in about two hours. At the time, I was thinking about the kind of atmosphere you hear in Mac Miller or Frank Ocean. I wanted to make something soft and melodic, without too much rapping. During that period, I really wanted to explore more bedroom-music-inspired sounds and show a softer side of myself.

I believe that every encounter between people, whether friendship or love, is a connection shaped by fate. That was the feeling I had when I wrote the song. I met Neci at a brand event, and later invited her to sing on the track. She happily agreed.

I think her voice has something pure, sacred and incredibly clean about it. When the recording was finished and I heard the final version for the first time, I genuinely felt like the song was radiating this intense holy light...

Q5: “三分鐘熱度” explores the tension between wanting freedom and being afraid of falling too deeply, while the album also touches on love, insecurity and imagining the future. Looking back at these songs, what matters most to you in a relationship, and what are you still trying to understand about love? After making this album, has your understanding of love changed in any way?

ZENBØ: In relationships, I'm usually the one being taken care of. What matters most to me is the other person's attention, and the feeling of two people giving everything to each other without expecting anything in return.

After making this album, my definition of love has actually become closer to the idea of “sharing”. It's the feeling of instinctively thinking, whatever happens, “There's a part of this that belongs to them too.” I used to be more inclined to think only about myself, but after truly experiencing love, I've also become more aware of how to consider the other person.

Q6: After completing DUST BLOWING, if you were to treat the album as a mirror, what kind of ZENBØ do you see reflected back at you? Did making this record overturn any ideas you previously had about yourself, or force you to confront things you thought you had already moved past?

ZENBØ: Through this album, I saw a version of ZENBØ who was struggling with everything he had, yet still had to maintain a smile and his composure.

If life were a video game, I'd say I was facing all these challenges with my HP below 10%. But it was precisely through that process that I gradually learned the skill of finding a way out when I'm cornered.

I went from simply trying to survive to slowly learning how to regulate my breathing. Even though I was exhausted and my feet were covered in wounds, they never stopped moving forward.

Q7: Your third pre-release single, “雰囲気”, was released worldwide on September 24. Could you tell us about the story behind the song? And what side of DUST BLOWING does it represent?

ZENBØ: We made the song at Bradd's studio. I remember his studio was in Dazhi, which was quite far from where I was. That night, we were heading to an event in Zhongshan, and we got caught in heavy traffic on the way. I was looking at the headlights and the night view from the highway when I unconsciously started humming this melody.

We met at the studio again the next day and finished “雰囲気” almost entirely on instinct. The song represents the more “blue” side of DUST BLOWING. It carries a little bit of that nighttime fantasy, a desire to immerse myself in the atmosphere and temporarily escape from reality.

Q8: Could you imagine creating a Miami Bass series, or a series exploring other genres, similar to the New Taipei CITY POP 市民 KTV series?

ZENBØ: Rather than following the same format as New Taipei CITY POP 市民 KTV, I personally prefer the idea of collaborating with more DJs and bringing this kind of sound properly into clubs and onto dance floors.

I also recommend checking out my Spotify page. I've put together a Miami Bass playlist there, so people can really feel the energy of the genre.

Q9: You’ll be heading to Tokyo on October 5 to perform as part of the Two Waves showcase. What kind of connection or reaction are you hoping your hip-hop music will create with Japanese listeners? You’ll also return to Kaohsiung for Takao Rock on October 10. Is there a plan for a solo show in the near future?

ZENBØ: I actually watched Leo Wang perform at the same venue last December, so I'm really excited to be heading to Japan to perform there myself this time. I hope music can cross the language barrier and allow more Japanese listeners to discover an artist from Taiwan with a sound like mine.

As for a solo show, we're still discussing it. Of course, I hope listeners will continue to support and listen to my music, and I also hope more promoters and event organisers will invite me to perform. Once I have built a large enough fanbase and gained more live experience, I'll have the opportunity to start seriously discussing a solo show.

Q10: Finally, could you share a few songs or artists you’ve been playing on repeat lately?

ZENBØ:

Brent Faiyaz — “four seasons.”
Future — “California Girls”
Erykah Badu — “Witch Doctor”
Jorja Smith — “I Lied, You Lied”

【專訪】LÜCY：學會逆流生長；從〈Looking at Me〉到〈LOOP〉，在黑暗中到往前的力量

2026-09-30T19:10:22.218+08:00

中文　|　English

台灣創作歌手 LÜCY，從細膩而私密的情緒出發，持續探索聲音與創作的不同可能。近年她也積極與海外音樂人合作，從 Jaguar Sun、羊文學，到這次與挪威製作人 Eirik Hella、電子流行歌手 Moyka 的跨國共創，逐漸將音樂帶向更寬廣的世界。

在〈Looking at Me〉中，她寫下成長過程裡的焦慮與低潮；到了〈LOOP〉，則將視角延伸至原生家庭與代際循環，思考那些不健康的模式，是否能夠在這一代停下來。

「那個循環可以在我們這一代停下來。」

對 LÜCY 而言，寫歌不一定能立刻解決問題，卻能讓她慢慢消化那些難以言說的情緒。那些曾經的徬徨與困難，也在時間裡成為養分，讓她學會「逆流生長」。

從與 Ollie 合作的〈Toy Boat〉，到即將展開的首次歐洲個人巡迴，LÜCY 正帶著一路走來的經歷繼續向前。10 月 16 日，她也將推出兩首全新單曲，而全新迷你專輯目前也正在準備中。

這次，《好青年的音樂清單》與 LÜCY 聊聊創作如何接住低潮、跨國合作帶來的碰撞，以及一路走來，那些讓她成為現在自己的故事。

Q1：〈Looking at Me〉記錄了妳生命中最黑暗的時期。想問 LÜCY 在寫這首歌的當下，這種「把痛苦寫成歌」的過程，對妳而言是一種逼自己直面恐懼的殘忍過程，還是一種被音樂接住的療癒？

LÜCY：我覺得比較像是一種被音樂接住的療癒。對我來說，寫歌是抒發情緒的方式。我喜歡把回憶和感受譜成旋律，變成一首歌，像是替生活寫一份回憶備忘錄。

我也喜歡用寫歌來抱怨生活，好的、壞的都會寫。但不是說寫完一首歌，情緒就完全抒發了，問題也解決了。它不會立刻解決什麼，只是能讓我舒壓。有些事可能要寫到五首歌，我才能慢慢消化過來。

Q2：新歌〈LOOP〉緊接著推出，從歌名到主題都在探討「斷開循環」的生命課題。如果說〈Looking at Me〉是妳個人在黑暗中的掙扎，〈LOOP〉是否是妳將視角放大，發現這種痛苦其實是很多人、甚至整個世代都在經歷的循環？這兩首歌在妳心中有著怎樣的內在關聯？

LÜCY：〈LOOP〉比較確切地是在寫那些可能一代接著一代重複的事。原生家庭對一個人的影響很大；有些不健康的習慣、情緒勒索，甚至暴力，都可能影響下一代，變成一個不好的循環。

這首歌想說的是：那個循環可以在我們這一代停下來。好的東西可以繼承，但不好的，不代表我們也必須繼續帶給下一代。你無法選擇自己出生的家庭，卻可以選擇未來想創造一個什麼樣的家庭。

這也是我說的「逆流生長」。逆流生長很辛苦，但那些經歷也可能變成養分，讓我們更獨立、更勇敢。〈Looking at Me〉比較接近我當時個人的感受；〈LOOP〉則讓我想到，那些感受也會和我們如何長大、如何對待下一代有關。

Q3：這兩首歌都有挪威製作人 Eirik Hella 參與操刀，充滿了迷幻合成器與深沉的重低音。從〈Looking at me〉揮之不去的不安感，到〈LOOP〉催眠般的脈動節奏，妳與 Eirik 是如何建立這種「黑暗、迷惘」的音樂美學的？妳覺得他為妳的音樂帶來了什麼不同的色彩？

LÜCY：我是在 Spotify 上聽到一首 Eirik 製作的歌，覺得很 powerful，有一種女性戰士的力量。我很喜歡他挑選鼓聲的方式，也喜歡他運用合成器和設計音色的能力，所以想找他合作。

〈Looking at Me〉最後其實和我原本的 demo 很接近。一起在錄音室討論編曲時，我告訴他這首歌的故事，為什麼會寫它，甚至給他看我在低潮時寫的日記。我覺得製作人需要知道歌曲裡的故事，才知道要怎麼替它搭出一個空間。

我們沒有刻意先設定什麼「黑暗、迷惘」的美學。那些 demo 就是在那樣的回憶和情緒裡寫出來的，聲音自然會從那裡長出來。Eirik 幫我把原本想表達的東西傳遞得更完整，編曲也更完整。我常常告訴他腦中想到的聲音，他很快就能理解，選出來的音色通常第一個就很合適。我們在音樂上很合拍，不太需要花很多話解釋。

Ｑ4：在〈LOOP〉中，妳與 Moyka 進行了中文、挪威語、英語的三語交織，展現了妳在人聲實驗上的大膽嘗試。這樣的編排是創作當下直覺的靈感，還是錄音室裡撞擊出的火花？

LÜCY：〈LOOP〉裡的語言編排，真的是在錄音室裡碰撞出來的。我原本計畫去挪威找製作人 Eirik，剛好在錄音室遇到 Moyka。既然三個人都在同一個房間，就想試試看一起寫一首歌。那天沒有事先準備好要做什麼，我們想到什麼就直接做出來。他們擅長電子音樂，我們也想做一首可以跳舞、比較燃的歌。

開始寫之前，我們先花時間認識彼此，聊各自成長的經歷。我和 Moyka 發現彼此有相近的地方：我們的原生家庭都不是那麼完整，長大的路比較坎坷，也讓我們比較獨立。這成了〈LOOP〉的起點。

Eirik 和 Moyka 成長時最熟悉的是挪威語，我成長過程中也經常使用中文，而英語是我們三個人一起溝通的語言。我不想只是和 Moyka 做一首全英文歌；我希望這首歌裡也能留下我們各自成長時最熟悉的語言。所以最後中文、挪威語和英語都進來了。對我們來說，這也是一次很新鮮的嘗試。

Q5：這次在〈LOOP〉中與挪威電子流行歌手 Moyka 合作，兩位的唱腔一溫暖神祕、一空靈浮遊，極具火花。妳們在彼此共創的過程中有著什麼樣的共鳴？

LÜCY：我覺得我和 Moyka 的聲音確實各有特色，但放在一起又融合得非常好。有時候我自己在聽〈LOOP〉時，甚至會忘記哪一個部分是她唱的、哪一個部分是我唱的。我覺得我們兩個人的音色非常相容。

共創過程中的共鳴，對我來說比較多是來自人與人之間的認識和連結。我很重視在一起做歌之前，先真正地認識對方，了解對方的故事。

就像前面提到的，我們的原生家庭和小時候成長的背景有一些相似之處，這成為了我們很重要的共同點。聊天的時候，我們聊起彼此的經歷，甚至一度都紅了眼眶。所以我覺得，這次共創不只是一起完成一首歌，整個認識彼此、理解彼此的過程也非常美麗。

Q6：從之前的 Jaguar Sun、羊文學到這次的 Moyka，妳一直有不少跨國協作經驗。和來自不同文化背景的音樂人合作，有沒有帶給妳什麼意想不到的思考視角，或是完全不同的音樂表達方式？

LÜCY：沒錯。當我開始以獨立音樂人的身分工作，可以完全替自己做選擇、企劃每一張專輯和每一個作品之後，我確實更常找海外的音樂人合作。對我來說，這也是一種讓自己開開眼界的方式，可以認識不同國家的音樂產業、工作方式和創作環境，再從中學習。

最近和我合作的海外音樂人也都是非常獨立的創作者。他們真的從零開始，自己寫歌、編曲、製作、混音，有些人也是連周邊商品都自己設計。我們之間有很多共同點，所以我也會想知道，他們是不是有一些我還不知道的做法和經驗，是我可以學習的。

我覺得他們身上有一種很自由的感覺。可能正是因為他們是獨立音樂人，他們的音樂和整個人的狀態都比較自在、自然，也比較貼近生活。你會感覺到他們的生活和音樂是真的連結在一起，而不是被分開的。

跟這些自由的獨立音樂人合作，也會提醒我要偶爾停下來想一想：我現在做音樂的方式和風格，真的是我自己想要的嗎？跨國合作讓我看見更多不同的選擇，也讓我有機會停下腳步重新思考自己前方的方向。

Q7：〈Looking at Me〉歌詞裡提到來自長輩的碎念與網絡時代被注視的集體焦慮。而在〈LOOP〉中，妳試圖探討如何靠自己的力量打破這種反覆的惡性循環。對現在的妳來說，面對這些焦慮時，通常會用什麼方式找到自己的安全感？

LÜCY：寫〈Looking at Me〉的時候，我的焦慮很大一部分來自長大，也來自被別人注視的感覺。那個「別人」可能是家人、朋友、網路上的人，也可能是我想像中的所有人。大概十八到二十一歲那幾年，我常常不知道自己屬於哪裡、能做什麼，或者自己的價值在哪裡。那時候還要上學，家裡經濟狀況也不容易，我會想是不是該休學去工作，又不知道該怎麼面對自己的夢想。

現在回頭想，我覺得要不斷嘗試，慢慢找到自己熱衷的事，也找到一個出口。有些人會寫歌，有些人會拍照、拍影片、畫畫或寫作。能把生活裡的矛盾和不開心記錄下來，也是一種抒發。那時候陪我走過來的，是耳機裡的音樂和瑜伽；我也慢慢學著用比較健康的習慣照顧自己。

我們那時候的人生才剛開始，正因為覺得沒什麼好失去，反而敢去試以前沒做過的事。你可能有擅長的事情，只是根本還沒開始做。如果不去試，永遠不會知道。所以我覺得，做就對了。

Q8：很多人開玩笑說「藝術家需要痛苦作為養分」，但身處痛苦之中往往是非常折磨的。現在回頭看寫出這兩首黑暗與循環之作的時期，妳覺得這些日子留給現在的 LÜCY 最珍貴的東西是什麼？

LÜCY：那些日子留給我最珍貴的東西，是讓我學會了逆流生長。當時有很多徬徨，也有很多困難，但它們後來都變成了我現在的養分，讓我更獨立。

也因為那時候覺得自己沒什麼可以失去，我反而更敢去嘗試不同的事，追逐自己感興趣、真正想要的東西。我覺得那個時候的自己，生存能力是最強的。

如果現在可以重新選擇，我不會選一條比較簡單的路。我還是會走同一條路。我這個人好像就是喜歡走難走的路，這樣才讓我覺得自己真的在活著。

Q9：10 月即將展開首次個人歐洲巡迴，到柏林、倫敦和巴黎演出。之前已經有過國外演出的經驗，這次的專場對妳來說有沒有什麼不一樣的心情或特殊意義？會帶來什麼專屬的內容嗎？

LÜCY：這是我第一次到歐洲舉辦個人專場。之前雖然也在海外演出過，但都是音樂節。音樂節比較像拼盤式的演出，有很多不同的音樂人，台下有些觀眾可能只是剛好路過，聽到聲音停下來。

但專場比較不一樣：是一個半小時的專場，大家是為了聽我的歌，買票、搭車來到現場。想到這件事，我很興奮，也比平常更緊張。

因為是第一次到歐洲，我想帶大家聽一聽最初認識我的那些歌，所以這次會比較偏向樂團的聲音。由於第一次在歐洲做巡演，預算有限，沒辦法把所有樂手都帶過去，但我會和這次同行的夥伴一起，用現有的編制盡我所能地呈現這些歌。

我想現場可能絕大多數會是在歐洲工作或讀書的華人，非常期待見到他們。但同時也很好奇會不會有歐洲當地的聽眾前來。

Q10：最近也推出了與 Ollie 合作的新歌〈Toy Boat〉，聽說還有一張全新的迷你專輯正在路上。能跟好青年的讀者透露一些接下來的消息嗎？最後，也想請 LÜCY 分享幾首陪伴妳度過那些低潮時期的私房歌單。

LÜCY：最近和 Ollie 推出的〈Toy Boat〉，寫的是童年，長大、追逐夢想的過程。有時候會覺得自己像一艘在海上漂流的小船，乘風破浪地也不知道明天會漂泊到哪裡，但我們還是保護著自己的初心一直往前走。

新的迷你專輯還在準備中，希望今年底之前可以順利發行。另外，10 月 16 日也會有兩首新單曲釋出。

如果要從自己的歌裡選一首，我會推薦〈Looking at Me〉。那真的是我在低潮時寫下的歌，大概已經是五年前的事了。現在我已經走過那段日子，再回去聽，感受很不一樣。

如果是推薦其他音樂人的音樂，我會推葡萄牙歌手 MARO。寫〈Looking at Me〉的那段時間，我聽了很多她的歌。特別想分享〈Still Feel It All〉和〈So Much Has Changed〉，這兩首歌陪我度過了很多低潮的時刻和眼淚。

Interview | LÜCY: Growing Against the Current

From “Looking at Me” to “LOOP”, finding the strength to move forward through the darkness

Taiwanese singer-songwriter LÜCY has built her music around intimate emotions, constantly exploring new possibilities in sound and songwriting. In recent years, she has also expanded her creative world through international collaborations, working with artists including Jaguar Sun, Hitsujibungaku, Norwegian producer Eirik Hella and electronic pop artist Moyka.

On “Looking at Me”, LÜCY turns anxiety and growing pains into music. With “LOOP”, she looks beyond her own experience, exploring family, intergenerational cycles and the possibility of breaking them.

“The cycle can stop with our generation.”

From “Toy Boat”, her recent collaboration with Ollie, to her upcoming first European solo tour, LÜCY continues to move forward while carrying the experiences that have shaped her. She is also set to release two new singles on October 16, with a new mini-album currently in the works.

In this interview, we talk with LÜCY about music, growing against the current, international collaboration, and finding her own direction along the way.

Q1: “Looking at Me” reflects one of the darkest periods of your life. When you were writing the song, did turning that pain into music feel like a brutal process of confronting your fears, or more like being held and healed by music?

LÜCY: I think it was more like being held by music. For me, songwriting is a way of processing and expressing my emotions. I like turning memories and feelings into melodies and songs, almost like keeping a diary of my life through music.

I also like using songwriting as a way to complain about life. I write about both the good and the bad. But it’s not like writing a song immediately releases all the emotions or solves the problem. It doesn’t instantly fix anything; it simply helps me release some of that pressure. Sometimes it takes writing five songs before I can slowly process what I’m feeling.

Q2: “LOOP” followed closely after “Looking at Me”, and both the title and the song explore the idea of breaking a cycle. If “Looking at Me” reflects your personal struggle in the dark, does “LOOP” represent a wider perspective, recognising that these kinds of pain and patterns can be experienced by many people, even across generations? What is the connection between these two songs for you?

LÜCY: “LOOP” is more specifically about the things that can be repeated from one generation to the next. Our family background has a huge impact on who we become. Unhealthy habits, emotional manipulation, and even violence can all affect the next generation and become part of a destructive cycle.

What I wanted to say with this song is that the cycle can stop with our generation. We can inherit the good things, but that doesn’t mean we have to pass the bad things on to the next generation. You can’t choose the family you’re born into, but you can choose what kind of family you want to create in the future.

That’s also what I mean by “growing against the current.” It’s difficult to grow against the current, but those experiences can also become nourishment, making us more independent and courageous. “Looking at Me” is closer to how I felt personally at the time, whereas “LOOP” made me realise that those feelings are also connected to how we grow up and how we treat the next generation.

Q3: Both songs were produced with Norwegian producer Eirik Hella, with psychedelic synths and deep, weighty low-end shaping their sound. From the lingering unease of “Looking at Me” to the hypnotic pulse of “LOOP”, how did you and Eirik build this dark, disoriented musical aesthetic? What different colours do you think he has brought to your music?

LÜCY: I first heard a song produced by Eirik on Spotify and thought it was really powerful. It had this sense of strength that reminded me of a female warrior. I really liked the way he chose his drums, as well as his ability to work with synthesisers and sound design, so I wanted to collaborate with him.

“Looking at Me” actually ended up staying quite close to my original demo. When we were discussing the arrangement in the studio, I told him the story behind the song and why I wrote it. I even showed him some of the diary entries I had written when I was going through a difficult period. I feel that a producer needs to understand the story inside a song in order to know how to build a space around it.

We didn’t deliberately set out to create a “dark” or “disoriented” aesthetic. Those demos were written from those memories and emotions, so the sound naturally grew out of them. Eirik helped me communicate what I originally wanted to express more fully, while also developing the arrangements. I often tell him about the sounds I hear in my head, and he understands very quickly. Usually, the first sound he chooses feels just right. We’re very in sync musically, so we don’t need to spend a lot of time explaining things to each other.

Q4: On “LOOP”, you weave together Mandarin, Norwegian and English, showcasing a bold approach to experimenting with the voice. Did this arrangement come from instinct in the moment, or was it something that emerged organically through the energy of the studio?

LÜCY: The language arrangement on “LOOP” really came out of what happened in the studio. I had originally planned to go to Norway to work with Eirik, and I happened to meet Moyka at the studio. Since the three of us were in the same room, we thought, why not try writing a song together? We didn’t have anything prepared that day. We simply made whatever came to mind. They specialise in electronic music, and we also wanted to make something that people could dance to, something with more energy.

Before we started writing, we spent some time getting to know each other and talking about our experiences growing up. Moyka and I realised that we had some similar experiences. Neither of our family backgrounds was particularly complete, and we both had difficult paths growing up, which made us more independent. That became the starting point for “LOOP”.

Norwegian was the language Eirik and Moyka were most familiar with growing up, while Mandarin was a language I used frequently throughout my own childhood. English was the language we all used to communicate with each other. I didn’t want to simply make an all-English song with Moyka; I wanted the song to preserve the languages that were most familiar to each of us as we were growing up. That’s why Mandarin, Norwegian and English all found their way into the song. For all of us, it was a very fresh and exciting experiment.

Q5: You and Norwegian electronic pop artist Moyka bring very different vocal qualities to “LOOP”, warm and mysterious on your side, ethereal and weightless on hers, yet they blend beautifully. What kind of connection did you find through the process of creating the song together?

LÜCY: I think Moyka and I definitely have distinct voices, but when we put them together, they blend surprisingly well. Sometimes when I listen to “LOOP”, I can’t even remember which part she sang and which part I sang. I feel that our tones are very compatible.

For me, the connection we found through creating the song came more from getting to know each other as people. I really value taking the time to genuinely get to know someone and understand their story before making music together.

As I mentioned earlier, we had some similarities in our family backgrounds and the way we grew up, and that became an important point of connection between us. When we talked about our experiences, there was even a moment when we both became emotional. So for me, the collaboration wasn’t just about making a song together. The whole process of getting to know and understanding each other was also something really beautiful.

Q6: From Jaguar Sun and Hitsujibungaku to Moyka, you’ve had quite a rich history of international collaborations. Has working with musicians from different cultural backgrounds given you any unexpected perspectives or introduced you to completely different ways of expressing music?

LÜCY: Definitely. Once I started working independently as a musician and could make my own choices and plan each album and project myself, I began collaborating more frequently with musicians from overseas. For me, it’s also a way of broadening my horizons, to experience different music industries, ways of working and creative environments, and learn from them.

Many of the overseas musicians I’ve worked with recently are also very independent artists. They really build everything from the ground up: writing, arranging, producing and mixing their own music. Some of them even design their own merchandise. We have a lot in common, so I’m always curious to see whether there are approaches or experiences they have that I haven’t encountered yet and could learn from.

I think there’s a real sense of freedom in them. Perhaps because they are independent musicians, their music and their lives feel more relaxed, natural and closely connected to everyday life. You can feel that their lives and their music are genuinely intertwined rather than being treated as separate things.

Working with these free-spirited independent artists also reminds me to stop occasionally and ask myself: Is the way I’m making music, and the style I’m pursuing, really what I want? International collaborations have shown me more possibilities and given me opportunities to pause and rethink the direction I’m heading in.

Q7: The lyrics of “Looking at Me” touch on criticism from older generations and the collective anxiety of being watched in the internet age. Meanwhile, “LOOP” explores how we might find the strength to break out of destructive cycles. How do you find a sense of safety when you face these anxieties today?

LÜCY: When I was writing “Looking at Me”, a large part of my anxiety came from growing up and from the feeling of being watched by others. That “other” could be family, friends, people online, or even everyone I imagined was watching me. Between the ages of around 18 and 21, I often didn’t know where I belonged, what I could do, or what my value was. I was still in school at the time, and my family was also going through financial difficulties. I wondered whether I should leave school and find a job, while also not knowing how to face my dreams.

Looking back now, I think you have to keep trying things, slowly find what you’re passionate about, and find an outlet for yourself. Some people write songs; others take photographs, make videos, paint or write. Being able to document the contradictions and unhappiness in your life can also be a form of release. At that time, what helped me through was the music in my headphones and yoga. I also gradually learned to take care of myself through healthier habits.

We were only just beginning our lives back then. Maybe because we felt like we had little to lose, we were actually more willing to try things we had never done before. You might have something you’re good at. You just haven’t started doing it yet. If you don’t try, you’ll never know. So I think the answer is simply: do it.

Q8: People often joke that artists need pain as creative fuel, but being in pain can also be deeply difficult. Looking back on the period when you wrote these songs about darkness and cycles, what is the most precious thing those years have given the LÜCY you are today?

LÜCY: The most precious thing those years gave me was learning how to grow against the current. There was a lot of uncertainty and difficulty at the time, but those experiences eventually became nourishment for me. They made me more independent.

And because I felt like I had little to lose back then, I became more willing to try different things and pursue whatever genuinely interested me and whatever I truly wanted. I think that version of myself had the strongest instinct for survival.

If I could choose again now, I wouldn’t choose an easier path. I would still take the same one. I think I’m just someone who likes taking the difficult road. It’s what makes me feel truly alive.

Q9: You’re about to embark on your first European solo tour in October, with shows in Berlin, London and Paris. Having performed overseas before, does this solo tour carry a different feeling or special significance for you? Will you be bringing anything exclusive to these shows?

LÜCY: This is my first time doing solo shows in Europe. I’ve performed overseas before, but those were all at festivals. Festivals are more like a mixed bill, with many different artists, and some people in the audience might simply be passing by and stop when they hear the music.

A solo show feels different. It’s a one-and-a-half-hour set, and everyone there has come specifically to hear my music. They’ve bought a ticket, travelled to the venue, and made the effort to be there. Thinking about that makes me really excited, but also more nervous than usual.

Since this is my first time touring Europe, I want people to hear some of the songs that first introduced them to me, so the shows will lean more towards a band sound. Because it’s my first European tour, we have a limited budget and can’t bring all of the musicians with us. But I’ll be performing with the musicians who are joining me on the tour, and we’ll do our best to present these songs with the lineup we have.

I imagine that the majority of the audience may be Chinese-speaking people who are working or studying in Europe, and I’m really looking forward to seeing them. At the same time, I’m curious to see whether local European listeners will come to the shows as well.

Q10: You recently released “Toy Boat” with Ollie, and a new mini-album is also on the way. Can you share any upcoming news with the readers? And finally, could you share a few songs that helped you through some of your lowest moments?

LÜCY: “Toy Boat”, which I recently released with Ollie, is about childhood and the process of growing up and pursuing your dreams. Sometimes I feel like a little boat drifting out at sea, battling the waves without knowing where I’ll end up tomorrow. But we still protect that original sense of who we are and keep moving forward.

The new mini-album is still in the works, and I hope it can be released by the end of this year. There will also be two new singles coming out on October 16.

If I had to choose one of my own songs, I’d recommend “Looking at Me”. It’s a song I wrote when I was going through a very difficult period, about five years ago now. I’ve moved on from that chapter of my life, so when I listen to it again now, it feels very different.

If I were to recommend music by another artist, I’d choose Portuguese singer MARO. I listened to a lot of her music while I was writing “Looking at Me”. In particular, I’d like to share “Still Feel It All” and “So Much Has Changed”. Both songs stayed with me through many difficult moments and many tears.

She Her Her Hers 倫敦現場：在聲音與霓虹之間，走進夢幻璀璨的夜

2026-09-28T07:10:04.768+08:00

現場紀實｜Live Report

中文　|　English

來自日本東京的 She Her Her Hers，由 Hiroyasu Takahashi（主唱／吉他）、Tomasong（合成器）與 Taiki Matsuura（鼓）組成。音樂風格融合瞪鞋、夢幻流行與迷幻電子，打造出既空靈、沉浸，又富有情感共鳴與電影感的聲響世界。

於 2026 年 9 月展開大型英國暨歐洲巡演，這也是樂團至今規模最盛大的一次海外巡演，橫跨 5 個國家、13 座城市。今年 9 月 23 日，他們帶著五人編制來到倫敦，登上 The Garage 舞台，與滿場的觀眾相遇。

演出在〈Pulse〉為背景音樂的烘托下揭開序幕，Hiroyasu Takahashi、Tomasong、Taiki Matsuura，連同小提琴手 Moemi Harada 與吉他手 Shogo Ishizaki 陸續登台。〈Law of Attraction〉前奏一下，懷舊氣息逐漸瀰漫，〈Bloody Mary Girl〉帶領大家放開身心，舞台與觀眾之間的距離也在音樂裡慢慢拉近。台下既有安靜聆聽的樂迷，也有人隨著節奏熱烈擺動；除了亞洲樂迷，也能看見來自不同文化背景的觀眾，呈現出樂團日益國際化的現場樣貌。

〈Diagram X〉轉向冷峻與銳利的質地，〈Imaginary line〉則像霧氣慢慢散去，光線從其中穿透而出。〈non zero sum game〉充滿舞動感，五光十色的燈光在舞台上流動，像城市夜晚不斷閃爍的霓虹，也讓聲音之外的視覺成為演出不可分割的一部分。

She Her Her Hers 回來了。

Tomasong 感謝去年與今年都來到倫敦觀看演出的樂迷，也笑著邀請大家今晚一起喝酒、跳舞，度過一個愉快的夜晚。〈Blue Moon Night〉隨後響起，仿佛身處深夜酒吧；〈drip〉逐漸加入緊張感，透過〈SPIRAL〉把情緒往內收，內心卻很澎湃。最後來到〈s〉，沉靜的氛圍，與自我面對面。這段由外而內的轉換，也讓原本全滿的場地出現另一種安靜。

團員談起這趟歐洲巡演漫長的移動。一路上輪流開車，也自嘲每個人的車技都在旅途中進步了不少，笑稱成了卡車司機樂團。經過長途跋涉後，終於再次抵達倫敦，他們提起去年在 Oslo Hackney 的演出，也為今年來到 The Garage 感到開心。

接下來的〈Tomorrow’s Sun〉像是朝著未來緩緩走去，節奏放慢，情緒也從剛才的內省逐漸向外擴展。〈Pre-logue〉重新帶起了舞動的節奏，〈Day Tripper〉最終走向迷幻。〈Episode 33〉響起，幻想與壯闊的聲響逐漸填滿整個空間，五人編制在這裡展現出更加完整的層次。吉他、合成器與鼓組建立出厚實的音牆，小提琴穿梭其中，沒有刻意突出自己，反而讓整體音樂多了一層細緻的色彩。燈光也隨著聲音在不同情緒之間轉換，從冷冽、幽暗，到逐漸開闊，讓整場演出像是一部完整的電影。

與台下觀眾寒暄，團員逐一介紹彼此。特別的是，這趟巡演期間也恰好遇上主唱高橋啓泰的生日。在長途巡演、城市與城市之間不斷移動的日子裡，倫敦成為他今年生日旅程中的其中一站。

專場進入最後一段，〈CHELSEA〉像是幕布重新揭開，現場的情緒也被一層一層解開。〈Brutalist〉冰冷的感覺像電流穿過身體，〈Thirsty〉對渴望的追求已經無法克制。〈Bystanders〉則將整晚的聲音、燈光與情緒集中到同一個時刻。隨著歌曲節奏起舞，帶有一種幽藍的底蘊，彷彿身處怪奇物語的時空，經歷刻骨銘心的感受。

演出沒有安可，但結束後觀眾並沒有立即離開，周邊商品區排起長長人龍，團員們也親切地走出來與樂迷簽名、打招呼。舞台上看似遙遠的距離，在演出結束後重新被拉近。

從東京出發，穿過亞洲，再一路來到歐洲，She Her Her Hers 的音樂或許從來不需要太多語言上的解釋。瞪鞋的迷濛、夢幻流行的漂浮、電子聲響的冷冽，以及現場燈光不斷變化的色彩，共同構成一個屬於他們的聲響空間。

She Her Her Hers 就在聲音與霓虹之間，在倫敦這座城市再次留下屬於他們的一晚。

Setlist 演出歌單

01. Law of Attraction
02. Bloody Mary Girl
03. Diagram X
04. Imaginary line
05. non zerosum game
06. Blue Moon Night
07. drip
08. SPIRAL
09. s
10. Tomorrow’s Sun
11. Pre-logue
12. Day Tripper
13. Episode 33
14. CHELSEA
15. Brutalist
16. Thirsty
17. Bystanders

She Her Her Hers in London: Between Sound and Neon, Into a Dreamlike Night

23 September 2026 · The Garage, London

Tokyo-based alternative band She Her Her Hers, consisting of Hiroyasu Takahashi (vocals/guitar), Tomasong (synthesiser), and Taiki Matsuura (drums), have developed a distinctive sound that draws from shoegaze, dream pop, and psychedelic electronics, creating an immersive world of hazy textures, emotional resonance, and cinematic atmosphere.

In September 2026, the band embarked on their largest overseas tour to date, spanning five countries and thirteen cities across the UK and Europe. On September 23, they returned to London with a five-piece lineup, taking the stage at The Garage to a packed room.

The show began with “Pulse” setting the atmosphere as Takahashi, Tomasong, and Matsuura gradually appeared onstage alongside violinist Moemi Harada and guitarist Shogo Ishizaki. The opening notes of “Law of Attraction” immediately brought a sense of nostalgia, before “Bloody Mary Girl” loosened the room further, pulling the audience deeper into the band's hazy orbit. Some listeners stood quietly, absorbed in the performance, while others moved freely with the rhythm. The crowd included Asian fans alongside audiences from a range of other backgrounds, reflecting the band's increasingly international reach.

“Diagram X” shifted into a colder, sharper feel, while “Imaginary line” felt like mist slowly clearing, with light breaking through. “non zero sum game” brought a more pronounced danceable energy, as a kaleidoscope of colours moved across the stage. The shifting lights evoked the neon glow of a city at night, making the visual dimension of the performance inseparable from the music itself.

She Her Her Hers were back.

Tomasong thanked everyone who had come to see them in London both this year and last, warmly inviting the crowd to drink, dance, and enjoy the night together. “Blue Moon Night” followed, evoking the atmosphere of a late-night bar. “drip” gradually introduced a sense of tension, while “SPIRAL” pulled the energy further inward, its restraint carrying a restless intensity underneath. By the time “s” arrived, the room had grown noticeably quieter, an intimate moment of turning inward and facing oneself. The shift from danceable energy to introspection created a different kind of stillness within an otherwise packed venue.

The band then spoke about the long stretches of travel that had come with the European tour. They had been taking turns behind the wheel, joking that everyone's driving skills had improved along the way and laughing that they had become something of a “truck-driver band.” After the long journeys between cities, they were finally back in London, recalling last year's show at Oslo Hackney and expressing their happiness at returning to the city, this time to The Garage.

“Tomorrow’s Sun” followed like a slow walk towards the future. Its measured pace allowed the introspective mood to gradually expand outward. “Pre-logue” brought the dancing energy back into the room, while “Day Tripper” pushed the set further into psychedelic territory. When “Episode 33” arrived, its expansive, dreamlike sound gradually filled the venue.

The five-piece arrangement revealed another dimension of the band's sound. Guitar, synthesiser, and drums layered into a dense, immersive sound field, while the violin moved through the arrangement without demanding attention, adding another subtle layer of colour and texture. The lighting shifted with the music, moving from cold, shadowy tones towards something increasingly expansive, giving the set a distinctly cinematic sense of progression.

After some interaction with the crowd, the band introduced each member. The European tour also happened to coincide with Takahashi's birthday, adding another memorable moment to a journey already defined by long hours on the road and constant movement between cities.

“CHELSEA” opened up the final stretch of the set, gradually releasing the tension that had accumulated throughout the night. “Brutalist” brought a cold, electric intensity, while “Thirsty” continued to build a sense of desire and longing to the limit.

Then came “Bystanders,” bringing the night's sound, lighting, and emotional tension into a single final surge. Its rhythm kept the crowd moving even as a deep blue melancholy settled underneath, creating an uncanny, almost otherworldly atmosphere. As the song reached its closing moments, the music and lighting pushed together towards the emotional peak of the night.

There was no encore. Yet the audience did not leave immediately. A long queue formed at the merchandise table, while the band themselves came out to sign merchandise and greet fans. The distance between the stage and the crowd seemed to disappear.

From Tokyo, across Asia, and now into Europe, She Her Her Hers make music that speaks across language barriers. The haze of shoegaze, the weightlessness of dream pop, the coolness of electronic textures, and the ever-changing colours of the stage lights came together to create a sonic space entirely their own.

Between sound and neon, She Her Her Hers left their mark on another night in London.

Setlist
01. Law of Attraction
02. Bloody Mary Girl
03. Diagram X
04. Imaginary line
05. non zero sum game
06. Blue Moon Night
07. drip
08. SPIRAL
09. s
10. Tomorrow’s Sun
11. Pre-logue
12. Day Tripper
13. Episode 33
14. CHELSEA
15. Brutalist
16. Thirsty
17. Bystanders

Photo: Ryohey Nakayama

【專訪】Robot Swing：我們其實很期待當機！從台灣到倫敦，在即興、默契與意外之間持續 Override!

2026-09-23T19:11:04.607+08:00

來自台灣的四人器樂樂團 Robot Swing，由昭元（鍵盤、合成器）、聿民（鼓）、恩立（貝斯）與惟農（吉他、聲碼器）組成。Funk、R&B、Soul、Jazz 等各種元素在他們手上交錯，沒有固定的框架，也沒有太多預設好的答案。

從首張《SYSTEM BOOTING...》到第二張《Override!》，Robot Swing 一路在創作、演出與即興之間摸索自己的聲音。曾獲金音獎最佳樂團、最佳現場演出等肯定，也陸續登上 AXEAN Festival、Proweek Festival、Clockenflap 等海外舞台。

這次，他們終於要把這台機器開進倫敦。

9/28，Robot Swing 將於倫敦演出，並邀請英國 Contemporary Jazz 六重奏 Happy Garden 與 Cosmos Zero 一同演出。鍵盤手昭元也提前抵達倫敦，從當地 Jam Session 開始，串起這次跨國音樂連線。

這次專訪，我們聊了倫敦音樂場景、Robot Swing 的現場哲學、《Override!》如何從 Jam 裡長出來，以及四個人接下來還想 Override 什麼。

人類們，準備好了嗎？

📍 The Grace, London @thegraceldn
📅 28 September 2026
🎸 Robot Swing × Happy Garden × Cosmos Zero

Q1：即將於 9/28 來到倫敦演出，也邀請了英國的 Contemporary Jazz 六重奏 Happy Garden 與 Cosmos Zero 助陣。鍵盤手昭元作為「先遣隊」抵達英國，也參與了這次合作的連線。當和倫敦當地音樂人交流後，有沒有發現什麼和台灣音樂場景不同、或特別讓你們感到興奮的地方？而和 Happy Garden、Cosmos Zero 的合作，又是怎麼發展出來的？

昭元：我觀察到最大的差別，是倫敦的音樂人跟聽眾都用一種特別輕鬆、自然的方式在接觸、聆聽、創作音樂。儘管市場飽和到這種程度，高手層出不窮，厲害的樂團一個接一個冒出來，你卻很少會覺得這是一場激烈的「競爭」。每個人都很 open-minded 地敬佩其他音樂人，想要合作，想從別人身上學到兩招。

這件事跟 Robot Swing 四個人的音樂旅程其實不謀而合。我們都是為了自己的喜悅、為了對音樂的喜歡才去練樂器、不斷精進自己的演奏，也一直很期待能遇到厲害的同儕，一起往更高的境界走。

Happy Garden 和 Cosmos Zero 都是我在倫敦各個 jam session 上遇到的音樂人，技術精湛，舞台主宰力特別強烈。當初是緊張到不行地走到他們面前自我介紹，結果馬上一拍即合，很快就開始緊密合作。我想這就是倫敦的魅力。

惟農：可是我還沒交流啊？！

Q2：你們的 Live 有一個鮮明的特色：不依賴 Program，而是讓一首歌自然接到下一首，像 DJ 接歌一樣讓音樂一直流動。這種演出方式很考驗四個人的默契。這次面對可能第一次認識 Robot Swing 的英國觀眾，你們會怎麼讓他們跟上這台機器人的節奏？

有趣的是，四個人沒有一個打算「讓觀眾跟上」。

昭元：Robot Swing 演出的魅力就在彼此丟接球的過程。在安排精緻的表演段落之中，我們會故意留白一些高風險的橋段跟銜接，創造一些「意外」。都是那些意外會激發我們的危機處理能力，讓演出變得特別好看。倫敦的聽眾特別喜歡意外的發展、喜歡享受音樂的樂手、喜歡全情投入的表演，我想大家一定會喜歡這個演出。

恩立：我覺得這種接歌方式對他們來說應該不陌生，只希望他們會滿意我們的接法。

聿民：其實不一定是要觀眾跟上節奏，我們也會依據現場氣氛調整節奏，所以節奏算是兩方互相拉扯、互相調配出來的。

惟農：在台灣表演也會遇到觀眾還沒準備好、但我們還是上了的狀況。我覺得讓他們跟不上，就是讓他們跟上的方式吧。

Q3：第一張專輯《SYSTEM BOOTING…》像是 Robot Swing 的開機，到了第二張《Override!》則直接選擇強制覆寫。回頭看《SYSTEM BOOTING…》，那張專輯對 Robot Swing 而言是怎麼樣的一個起點？而經過這幾年的創作與演出後，你們又覺得《Override!》和當時相比，出現了哪些明顯的變化？

聿民：《SYSTEM BOOTING…》是 Robot Swing 開拓、實驗的第一個作品，像是要從學生階段步入社會一樣，帶著很多不確定性，也是四個人第一次比較深入地和彼此磨合的作品。《Override!》則是在我們四個都深入音樂圈之後，各自擁有更多想法、技巧也更好的狀況下，相互碰撞出來的作品，每個人的個人特質更鮮明，作品的融合度也更高。

昭元：《SYSTEM BOOTING…》本身比較像是以我的創作靈感為主發展而成的專輯。到了《Override!》，我們嘗試全團一起創作所有的音樂，從而做出超越我們任何一個人想像邊界的作品。

恩立：那張的創作模式是靠純 jam 出來的，這讓我們必須好好聽彼此想用樂器說什麼，算是一個試著理解彼此想法的起點吧。

而且因為昭元不在，近一年的演出（雖然不多）都是三人 trio 編制、用 jam 的方式進行，這讓每次演出的曲目就算一樣，歌曲的長相也都不一樣。所以《Override!》裡的歌對我來說已經不算是有個固定的形狀，比較像是一個概念，這種感覺蠻酷的。

惟農：平衡和特色更顯著了。

Q4：「Robot」與「Swing」本身就像是理性與感性的兩種力量。在《Override!》裡，你們一方面可以把音樂拆解得非常精準，另一方面又有〈Robot Revolution〉這種情緒強烈、甚至帶著失控感的作品。在創作 Robot Swing 的音樂時，你們通常怎麼在精準的編曲與演奏，以及自由的律動之間取得平衡？

四個人的答案幾乎是把「精準」這個前提推翻了。

惟農：我們都是先 jam 再說。

恩立：老實說這張專輯沒什麼特別精準的編曲，所有恰似精巧的安排都是自然而然、無意間發生的，不論是在練團室寫歌，或是在錄音室同步錄音的某個 take。真的要說靠什麼做編曲上的決定，應該是相信身體，還有相信彼此。

聿民：這張專輯的特色是所有歌的 motif 都是 jam 出來的，所以可以聽出比較多原始、情緒性的部分，因為 jam 也沒辦法事先編好。後續當然就是依靠一層層的器樂調整，想辦法讓原本的 motif 長出前後文、長出故事線。加上我們的作品通常都會留出部分的即興空間，錄音的時候就可以用當下的感覺去補滿既定的編曲，所以可以形成這樣的作品。

昭元：說真的，其實就是團員之間的個性與品味中達成的一種美麗的恐怖平衡。創作階段每一個橋段的顏色、情緒、演奏內容都反覆調整過，但同步錄音的時候還是有大量自由發揮的餘地。努力讓專輯聽起來像是充滿誠意而不過度修飾的演奏，是我們的目標。

Q5：你們曾獲得金音獎「最佳現場演出」肯定，也有不少觀眾認為 Robot Swing 是「為 Live 而生」的樂團。對你們自己而言，什麼樣才算是一場真正理想的 Robot Swing 演出？

昭元：當台上台下所有人都覺得，今天這場演出只會發生一次，我想那就是最好的演出。

聿民：四個人都融合在演奏的流裡。

恩立：對我而言，不論是不是 Robot Swing 的，理想的演出都必須帶著某種企圖心，並在音樂上和表現上展現出來，讓觀眾共感，這樣就會是一個很棒的現場演出。

惟農：應該沒有真正理想這回事吧，我們是見招拆招的。每個地方和環境都會有變數，而那些變數會讓那場演出獨特。我偏好獨特勝過理想。

Q6：Robot Swing 的現場保留了不少即興，也有很多需要四個人即時反應的段落。隨著編曲越來越複雜，有沒有遇過樂器、器材或現場狀況突然反撲，差點讓整台機器人當機？最後又是靠什麼默契把它救回來？

與其說怕當機，他們更像是在等當機。

昭元：不如說我們很期待現場出現狀況。因為大家都太熟練了，偶爾甚至還會互相弄一下、空出一些段落，看看彼此怎麼反應，這種時候都特別好玩。

恩立：好像就是因為即興的部分蠻多的，所以不管出了什麼狀況都能互相 cover。

聿民：像是 vocoder 可能突然沒聲音，就需要其他人延長段落，或是直接先來一段 solo，再重新 cue 進原本的段落。

惟農：之前很常斷弦，一開始很煩，但會靠氣勢演過去。斷久了之後就習慣了。

Q7：從〈AI 敢會愛？〉到〈為什麼我無法成為我想成為的人〉，Robot Swing 曾和不同音樂人合作。到了《Override!》，有沒有哪一次合作讓你們覺得特別有趣，甚至在排練或錄音時出現超乎預期的結果？

昭元：《Override!》的目標是重新定義 Robot Swing 身為樂器演奏團的聲音。也因此這次的〈I Think We're OK〉更像是兩個 artist 強強對撞，而不是樂團去配合 vocal，那個融合了兩方的份量感，我非常喜歡。

恩立：〈I Think We're OK〉樂器的部分，是一次練團前亂 jam 中誕生的驚喜。原本專輯的歌曲都已經確定了，但我們一致認為這首歌要收錄進來。

聿民：《Override!》的第一首〈Lullaby〉裡的口白，是錄音師 Andy Baker 錄的。當初只是想像他來念口白應該會很有感覺，沒想到成品真的很契合。

惟農：跟程杰合作吧？程杰可愛又充滿實驗精神。後來他介紹的母帶工程師也超厲害，雖然沒碰到。

Q8：這次來倫敦除了演出和排練，有沒有什麼是四位團員各自列在「必須完成」清單上的行程？唱片行、樂器行、音樂現場，甚至某一家 Pub 都可以。

昭元：這題我讓其他團員回答，我當導遊。（笑）

恩立：Blue Note London 剛好在我們去的那段時間開幕，得去看一下。

聿民：我自己是一定要看演出，特別是剛好遇到 Blue Note London 開幕，所以一定要看。

惟農：鰻魚凍、Pie & Mash。

Q9：如果《Override!》代表的是突破原本的設定，那走到現在的 Robot Swing，下一個最想突破、覆寫或挑戰的又會是什麼？是音樂、現場、合作對象，還是某個你們現在還不知道自己能不能做到的事情？

昭元：最終要突破的好像都是各自想像力的極限。我們還可以做什麼？還可以去哪些地方？還想做什麼樣的音樂？需要大家各自突破自己的想像，然後再一起決定要前往哪個有趣的地方。

聿民：我覺得可能是具有全球範圍的「標誌性」「代表性」，聽了會覺得這就是 Robot Swing 的 sound。

恩立：繼續精進編曲、默契，還有美感的建立，這是練不完的。

惟農：學其他樂器吧，我最近在練貝斯。

Q10：最後，想請四位團員各自推薦最近喜歡，或是一直放在自己音樂清單裡的歌曲。為什麼喜歡？

昭元：corto.alto 的〈IJUSTIDONTKNOW〉。昨天剛看完演出，覺得帥瘋了，又精密又狂野，是最棒的英國電子樂 influence 與爵士樂的融合。

恩立：Dolphin Hyperspace 的〈Dolphin Samba〉超 turn。最近也很常聽 Nate Smith、Kiefer、CARRTOONS 他們組的 FATHERS，那張同名專輯。

聿民：推一首 Mark Guiliana 的新作品〈D.RUM〉，是一首兼具機械性和原始性的美的歌曲，是我很喜歡的風格。

惟農：9Lana 的〈螺旋〉acoustic 版。因為最近在看《死神千年血戰篇》的動畫，織姬犧牲自己跟友哈巴赫一換一的那段，配上特別改編的片尾曲，實在印象太深刻了。

【專訪】鄒序第二張創作專輯《無端 Ends》：從聚散無常出發，記錄生命裡的無端

2026-09-13T19:21:13.714+08:00

從聚散無常出發，記錄生命裡的無端。歷時三年，鄒序帶著第二張創作專輯《無端 Ends》回到我們面前。從首張《把水開著》到這次的新作，生活與創作的累積，讓他對情緒有了更細緻的理解，也開始用不同的方式，梳理那些難以言說的感受。

《無端 Ends》延續鄒序對聲音的探索，在 Indie Pop、黑樂、流行與實驗 Fusion 之間，尋找新的可能。那些關於相遇與別離、時間與自我、焦慮與自由的思考，也在這張作品裡慢慢展開。

對鄒序而言，創作不只是尋找一個好聽的答案，更是不斷嘗試、推翻，再找到新的聲音。而當生活裡有些事情無端發生，我們又該如何與它們相處？

讓我們從《無端 Ends》出發，聽鄒序談談創作上的轉變、音樂合作，以及那些讓自己重新歸零的時刻。

Q1：從首張專輯《把水開著》到歷時三年打磨的第二張創作專輯《無端 Ends》，覺得這段期間自己最大的轉變是什麼？

鄒序：覺得自己在體驗情緒還有理解事情的方式或許又更成熟了。我在這個階段體驗到情緒的解析度會比上一張專輯時更高，像是把情緒整個光譜分割得更細，所以相較上一張比較「帥」的樣態，這張更著重在敘事。

Q2：專輯名稱《無端》源自工作室植物奇蹟復活的幽默日常，這段經驗對你面對音樂或生活低潮時帶來什麼樣的啟發？

鄒序：植物的故事有一點被誤植了哈哈哈，其實這故事是來自專輯做完之後某一次觀察到的感悟，但是這個故事也是一個近期在小事之中找到可愛而且無端之處有很大的啟發，對我偶爾無端的焦慮或無端的傷感得以有個靈巧的出口。

Q3：首位同名主打〈無端〉巧妙取材自白居易《長恨歌》與李煜《浪淘沙》等詩詞，將古典聚散無常揉合現代節奏，當初是怎麼萌生這個想法？你最喜歡哪一段歌詞？

鄒序：自己寫作的習慣本就有點愛引用古人寫得很巧妙的字句，可以把很美而且有歷史淵源的畫面搬運進我的歌裡是我很喜歡做的事情。

其實很喜歡「有時會恨花飛盡」這句是我偷蘇軾《水龍吟》裡面的句子然後改了幾個字（詳情請洽水龍吟），覺得這句簡短地把對於時間流轉、跟對於美妙事物消逝的感受寫完整了。

Q4：〈想想而已〉是跟守夜人團長秦旭章共同寫出的作品，這首偏向細膩溫柔的風格，在創作和編排時，他有帶給你什麼完全不一樣的思維轉換嗎？

鄒序：覺得跟旭章的共創，在這首歌有讓我找到新的寫歌跟唱歌邏輯，而且也是個讓我偶爾創作上不要鑽牛角尖，或著別唱太複雜旋律的一次很好的學習。

Q5：你這幾年也參與了許多優秀音樂人的作品，這些經歷有帶給自己創作或製作新專輯時，什麼樣的養分嗎？

鄒序：參與到別人的作品有讓我更可以學習換位思考，更需要深刻了解對方想要的東西是什麼，而非只是我最主觀的審美。在我專輯裡的話就是可以跟來自不同背景的音樂人更加全面的交流跟溝通，把更酷的聲音加到作品裡。

Q6：歌曲〈難解〉是你向偶像方大同的致敬，想透過這首歌捕捉或釋放心中怎樣最難解的情緒？Flowstrong 的饒舌助唱為這首歌加入什麼樣的力量與溫度？

鄒序：這首歌最想講的是在有限的時間裡無愧自己的活著，縱然在時間長河裡會遇到很多不一定有解答的問題，但是有時候有沒有答案也不重要。我的好朋友Flowstrong 一直都是我心目中 top 3 rapper，他的觀點總是成熟、獨特又有力量，而且有時候會有想像不到的 punchline 跟韻腳，所以對歌曲來說無疑是把這種，對歌曲來說就是更強化了 be free be me 的態度。

Q7：這次新專輯在 Indie Pop 與黑樂的基礎上，加入了流行與實驗 Fusion 等多元曲風。在編曲上最挑戰、最好玩的地方在哪裡？

鄒序：編曲是把詞曲還有整首框架搭上最適合最好看的衣服，所以對我還有我的夥伴來說最好玩跟挑戰的部分，就是要盡可能每次都做出創新的選擇，如果用一套確定會好聽的做法一直複製，對我們來說就是最無聊的事，所以就像是研發新菜一樣，不斷嘗試、失敗、找到新配方，就是做音樂最有樂趣的地方，也才能保持不可被取代性。

Q8：面對創作與音樂圈的無形壓力，除了做家務與玩手遊，聽說你很喜歡去衝浪？海上漂流的時刻如何幫助你的腦袋紓壓？

鄒序：在海上要時刻注意跟大自然的互動，有舒適也有比較挑戰的海相跟浪況，所以在衝浪時會 focus 在生存還有判斷是否好的浪形成、再動用全身協調跟力量去追。所以全身上下感官都會打開而且極度專注，這時候所有作繭自縛與不必要的想法都會隱去，對我來說就是最棒的歸零。

Q9：最後想請鄒序推薦幾首你近期無限循環、或影響你最深的私房愛歌給讀者嗎？

鄒序：自救&沈思神曲

Mac Miller - Self Care
Radiohead - Everything in its Right Place
John Mayer - Covered in Rain
梅艷芳 - 親密愛人
Daniel Caesar - Who Knows
藤井風 - 満ちてゆく
蛋堡 - 給我一點時間
Dominic Fike - King of Everything

蘇珮卿全新單曲〈Every Second’s A Treasure〉正式發行，揭開第三張專輯序幕

2026-09-11T17:55:58.544+08:00

全方位音樂創作人蘇珮卿全面回歸！全新單曲〈Every Second’s A Treasure〉以豎琴為基底再現音樂電影奇幻聲響

全方位音樂創作人蘇珮卿正式回歸！宣告將於 9 月 25 日推出第三張全創作專輯《The Best of the Worst of Times》，並於即日起全面啟動黑膠預購，邀請樂迷再次見證探索生命的無限可能。隨著新專輯發行在即，蘇珮卿搶先釋出首波單曲〈Every Second’s A Treasure〉，除了將擅長的豎琴音色全面融合於奇幻旋律之中，新歌更是一首醞釀長達十年的珍貴逸曲，歷經時間淬鍊後，選在最好的時間點曝光，也是蘇珮卿送給樂迷一路支持的珍貴禮物，她表示：「這首歌其實在10年前就大概有了雛型，但一直被我放在電腦某個角落，直到去年才終於解鎖，並完成我自己很滿意的模樣，某程度來說也跟歌名有所呼應。」

去年全家移居紐約生活！第三張專輯《The Best of the Worst of Times》全程美國錄音蘇珮卿探索「音樂映像賽倫」攜手葛萊美團隊探索成長歲月另類音樂養分

憑著上一張專輯《You’ll Live Forever in My Songs》奪下金音獎年度專輯殊榮，也成功入圍金曲獎肯定，相隔三年半時間，蘇珮卿帶著全新音樂作品《The Best of the Worst of Times》回歸樂壇，以「音樂映像賽倫」做為主軸，透過底片記憶，追尋藏於心中生根的記憶旋律。整張專輯不僅再次以另類流行樂風追尋生命的好壞片刻，更是去年正式移居美國紐約生活後所完成的一張極限之作。

特別攜手美國音樂人 Benjamin Lazar Davis 共同製作，加入多位國際級樂手加持，包含曾替Phoebe Bridgers、sombr 合作的吉他手 Mason Stoops，以及榮獲葛萊美提名的美國樂團 Arc Iris 的鍵盤手 Zach Tenorio-Miller 等，齊力探索 90 年代音樂養分，藉由蘇珮卿獨有品味的器樂長才，最終交出一張歷經重生之後，迎接全新人生風景的生命大碟。蘇珮卿表示：「這張作品，是把我自己關在美國洛杉磯錄音室兩個禮拜下所完成，雖然幾乎是與世隔絕，但每天醒來就是與音樂為伍，也算是實現我一直想要擁有的夢想。」

首發單曲〈Every Second’s A Treasure〉近期已在數位平台全面發行，事實上歌曲早在十年前就開始醞釀，直到去年蘇珮卿才錄製完成，她提到：「在美國和 Benjamin 製作時，我們腦中一直有個很有趣的畫面：像在玩電動，騎著水上摩托車，在閃閃發亮的水面上一路往前衝。很開心、很自由，還有一點不真實的感覺。」新作除了再次以擅長豎琴作為主要編曲樂器，也為歌曲注入溫暖又帶點奇幻的聽覺色彩，蘇珮卿也笑說：「電豎琴加上意想不到的類比合成器以及電吉他聲響的堆疊，最後加上很瘋狂的鼓點，好像真的有打電動非常歡樂的感覺。」

新單曲封面富有巧思兒時影像疊上現今自我蘇珮卿感恩「走過的每分每秒都是生命寶藏」

新單曲除了在製作上融入許多巧思，單曲封面上也對蘇珮卿有格外意義，特別把自己小時候的照片，疊上現在由兒子所拍下的樣貌，象徵不同階段的自己再次相遇，她解釋：「一張由養育我的家人拍下，另一張則是我養育的孩子長大後為我拍下。兩個時間、兩個不同階段的我重疊在一起，正好呼應了〈Every Second’s A Treasure〉想說的『走過的每一分、每一秒，最後都可能成為生命裡的寶藏。』」

挑戰前進台北知名「機車瀑布橋」拍攝單曲宣傳影片蘇珮卿優雅過馬路跟等紅燈騎士打招呼

另外蘇珮卿還邀請來自紐約的影像導演 HAO YEN of America 拍攝歌曲前導影片，特地前往台北知名「機車瀑布橋」景點台北橋取景，挑戰與紅燈時間賽跑的快閃捕捉，蘇珮卿必須在抓準紅綠燈切換時，走到斑馬線中央，以一種輕鬆優雅姿態拿起相機拍下正在等紅燈的「機車瀑布騎士」們，她笑說：「要走到一大群騎士們前面拍照其實有點小小尷尬，但最後完成的成品效果我非常喜歡！」

機車瀑布冒險影片：https://www.instagram.com/p/Dc0_HpxBmsJ/

第三張專輯《The Best of the Worst of Times》實體黑膠啟動預購首批加贈神秘單曲七吋小黑膠收藏

隨著新單曲正式發行，蘇珮卿也預告第三張專輯《The Best of the Worst of Times》將啟動實體黑膠預購，獻給樂迷今年最棒的珍藏禮物，她特別提到，黑膠發行一直是希望可以完成的夢想，因此在著手新專輯錄製時，此計畫就被放在心中，終於來到實現這天。為了這次難能可貴的實體黑膠發行計畫，蘇珮卿還砸重本準備另一首神秘隱藏曲目，並以另外一張「七吋小黑膠」的形式，作為本次的首批預購限定收藏禮，她表示：「這首歌目前還不能揭曉，但我很期待大家收到時的驚喜。它是專門留給收藏實體黑膠的人，一份很特別的小祕密，也讓整套作品更完整、更值得收藏。」

黑膠預購網址：https://linktr.ee/peiching.su

照片/ 賽蓮音樂；新聞稿/ 鈞光閃閃

【專訪】Andr 的感官脫皮論述：在全新迷你專輯《SKIN》中，探索未經修飾的有機瑕疵

2026-09-04T19:06:14.117+08:00

台灣新生代創作人 Andr，2024 年以首張專輯《shhh, it's under my bed》寫下藏在床底、那些不願被輕易看見的私密情緒。時隔兩年，她帶著全新迷你專輯《SKIN》回來，這一次目光從床底走向皮膚，也更加靠近自己。

皮膚每天都在悄悄脫落，人也在不知不覺之間改變。對 Andr 而言，成長並不總是清晰可見的，有些變化甚至發生得無聲無息；而那些始終沒有改變的部分，也可能依然固執地留在身上。

這一次，她不再急著替音樂設定方向，而是跟著當下最有趣、最有感覺的選擇走。《SKIN》留下了更多未經修飾的聲音、瑕疵與意外，也讓作品變得更加有機、更加貼近此刻。

「瑕疵和意外本來就有很迷人的地方。」

脫皮或許不是一次完成的成長，而是我們與世界接觸時，不斷發生的細微變化。

這次 Andr 和好青年聊了聊《SKIN》裡的聲音與身體、脆弱與不安，也分享她如何在一次次創作與演出之間，慢慢找到現在的自己。

就在 9/5，Andr 的亞洲巡迴即將登陸香港 PORTAL，隨後也將回到主場台北，帶來限定規格演出。今晚一起讀讀這場關於蛻變的魔幻實驗，聽見那些正在長出來的新聲音，也觸摸那層全新長出來的《SKIN》吧！

Andr [Shedding Skin 脱皮] 2026 Asia Tour in Taipei [Special Edition]

演出日期：2026/9/19 (六)

演出時間：19:30

演出地點：Legacy Taipei

Q1：首張專輯《shhh, it's under my bed》像是在探討藏在床底的私密怪獸，這次新作品則直接命名為《SKIN》。從「外在的藏匿」到「本體皮膚的裸露」，這兩者在妳的心境上，象徵了什麼樣的成長或心理轉變？

Andr：前陣子看到人每天都會掉零點幾克的皮屑，跟我自己對轉變的感覺很像，好像永遠在不知不覺中就發生說不清楚的變化。一邊覺得人活著就是每一個瞬間都有 input 在改變我，但有時候又覺得自己某些方面固執且沒有長進，我看待我的作品也有這樣的感覺。

Q2：生物脫皮是為了適應生長，但過程往往是脆弱且敏感的。在創作《SKIN》的過程中，妳覺得自己脫去了什麼？哪一個部分的自己是在這個過程中「最感到陣痛」卻也最渴望迎來新生的？

Andr：第一張專輯的慎重感和某種儀式感我覺得有影響到我想要做什麼樣的音樂，但做這張迷你專輯的時候好像完全就沒有這些有的沒的的想法，很自然的就傾向去做當下覺得最有趣最有感覺的選擇（雖然做第一張專輯也是這樣但又有點不一樣）陣痛每天都發生，像是〈night night〉的人聲錄了 N 個小時一直想找到更好的呈現方式可以映照 Whys Young 的聲音，但最後的結果都讓我很開心。

Q3：妳曾提到《SKIN》的曲風更為「有機且稜角分明」，創作時不預設方向。在編曲或採樣上，這張專輯運用了哪些過去沒嘗試過的元素或樂器？妳是如何在錄音室裡刻意保留那種「未經修飾的粗糙美感」？

Andr：這次用了我去年年底買的 kaossilator 2S 裡面的其中一個 drum loop，塑膠小小一台很像玩具，但是當初一聽到那個 loop 就覺得有機會拿來寫歌，聲音非常 lo-fi 沒什麼低頻我很喜歡，每次按下去都會有點隨機有點不一樣的 pattern，後來變成〈Cry In Your TV〉的起點。

我覺得瑕疵和意外本來就有很迷人的地方，最乾淨、執行最徹底的 take 不一定是最好的 take，可能難的點是每次的取捨吧。

Q4：延續上一張專輯與韓立康老師的合作，這次在《SKIN》中，兩人的默契有了什麼樣的新變化？有沒有什麼不一樣的驚喜與撞擊？

Andr：已經有點忘記第一張專輯的時候是怎麼樣的狀態了，但我們一直都很常聊天，聊最近在聽什麼、下一張作品有什麼想嘗試的事情，默契好的影響是我可以用幾乎像是只有我一個人的放鬆狀態，但又同時有夥伴可以一起討論和爭執，我覺得很珍貴。

Q5：開場曲〈Cry in your TV〉充滿英倫搖滾精神，這是妳首次嘗試這種曲風嗎，對妳來說是一種宣洩還是挑戰？

Andr：那陣子很喜歡聽 The Cranberries、Goo Goo Dolls 的〈Iris〉這種 90 的音樂，我喜歡他們的旋律有種直接感，雖然是受到這樣的音樂啟發但我覺得最後做出來還是很不一樣，並不是真的太復古，我蠻喜歡最後歌的狀態。錄人聲的時候嘗試了很多錄音的方式，站著錄、半蹲著錄、離很遠大吼的錄、隨便亂唱的錄，很舒壓。

Q6：主打單曲〈安 Nest〉中直視了女性的恐懼。在音樂表現上，妳是如何利用實驗聲響的鋪陳，把那種抽象的不安感，具象化地傳達給聽眾？

Andr：很喜歡這個問題...歌曲後半我想讓聆聽時的體驗可以更不安、更緊張一點，但希望是用聽眾不一定會發現的方式辦到。後來我們決定對著吉他的拾音器嘶吼放在編曲裡，隱隱約約其實聽不太清楚，但我覺得成功用很難以察覺的方式讓張力變得更大，很符合這首歌的感覺。編曲上我們也做了很多像是槍響的鼓聲、此起彼落的哼唱等等聲響，堆疊成現在的樣子。

Q7：專輯中的〈FACES〉在歌詞裡寫到了“Tired of all these faces, I sleep better in my bed”。這兩句話讀起來，像是從的外在的疲勞中，又再度回望了上一張專輯的私密空間。這首歌在整張《SKIN》的「脫皮」概念裡，扮演著什麼樣的過渡角色？

Andr：這首歌是迷你專輯裡第一首完成也第一首發的歌，那陣子很常有機會在世界各地演出，一邊覺得很新鮮有趣，認識很多新的人、在很多陌生的臉孔前面演出，一邊又很想念熟悉的味道（例如魚酥羹麵還有小火鍋）還有家人朋友。這首歌也許可以看成現在的狀態和發第一張專輯的狀態中間的過渡吧。

Q8：這次與韓國音樂人 Whys Young 合作了〈night night〉，像是〈安 Nest〉的雙生歌曲，也為專輯溫暖收尾。跨越語言與地域的限制，妳們在音樂語彙上是如何對話的？有影響妳創作音樂的方式嗎？

Andr：剛開始傳了這首歌的 demo 還有一個落落長的 word 文件想和 Whys Young 說這首歌背後的故事、為什麼想找她 feature 之類的，我覺得在音樂完成前讓其他人聽總是覺得很赤裸，當時很緊張不知道她會不會答應。但她很快的就回覆我最近剛好也和身邊的女性音樂人朋友聊到相關的事情，覺得很有共鳴。聽到她的 verse 之後我記得我呆坐著蠻久，就算還沒了解歌詞都可以感受到那種很脆弱、輕薄但又有某種很 raw 的力量的感覺，啟發了我們去花很長的時間嘗試我應該怎麼錄我的人聲。我們其實沒有太多文字的討論或是來回，更多的是因為彼此的音樂所以讓我們想也用音樂試著回應！

Q9：妳正在進行《Shedding Skin》亞洲巡演，其中台北場還特別強調是「Special Edition 限定規格」。妳最想對來看演出的歌迷們說些什麼？

Andr：很感動第一次的亞洲巡迴可以回到主場台北辦，時隔上次在台北辦專場大概一年多，是一段不長也不短的時間，有點緊張底下會有哪些熟面孔新面孔來玩。因為是在 Legacy，其實我們在這裡演出過蠻多次了，我覺得是時候嘗試一些新花樣、新的演出形式，所以我覺得不管有沒有看過我的演出應該都會感覺到有種脫皮的新鮮感。會很好玩，希望大家有空都可以來看，應該還剩下一些些票，到時候見！

Q10：妳會希望《SKIN》這張專輯，能在聽眾們的什麼時刻或是空間裡陪伴著他們，讓他們能好好享受？

Andr：任何時間都好，自己一個人或是跟朋友一起也都很讚。但我自己最喜歡在移動、通勤的時候聽音樂，或是深夜一個人待在房間的時候，音樂常常會帶給我魔幻的體驗，如果有人也在聽這張專輯的時候有類似的感覺就太好了。

Q11：最近有在聽什麼，能跟我們分享幾首 Andr 喜歡的私房歌曲？

Andr：最近常常在搭飛機，我很喜歡下載專輯然後在飛機上從頭聽到尾，有種回到小時候用CD專心聽整張專輯的感覺。最近很喜歡 Bloc Party 的《Silent Alarm》這張專輯，主唱半饒半唱的感覺配上很緊湊、刺激的鼓，然後不想暴雷但我很喜歡最後一首歌的設計，很爽，推薦。最近剛去完 Summer Sonic 演出，這次竟然可以看到 DEAN 難得表演，很開心很興奮...

最後想分享一個我的朋友 LAWA 發的新歌〈火花〉，音樂和 MV 都很美，是會讓人覺得某種傷口被輕撫的音樂！

【專訪】Echo of Your Soul 回聲樂團：在世界消失之前，將靈魂化作永恆的回聲

2026-08-20T18:54:56.559+08:00

睽違 12 年，那個曾以《感官駕馭》走過我們無數人青春的樂團回來了。只是這一次，他們把「Echo」完整拓展成了「Echo of Your Soul」。

這次回歸，他們不只帶來新歌，更特別打造了雙 CD 豪華編制。一邊是全新創作的《靈魂的回聲》，一邊是重新錄製六首樂團早期經典的《記憶的回聲》。對回聲樂團來說，這雙專輯就像是一個「連通現在與過去的蟲洞」，你可以從任何一邊進去，最後都會遇見同一個、在時間裡歷練成熟的他們。

這不只是一場懷舊，而是一場明知萬物終將消逝、卻依然浪漫的「末日告白」。

「如果你以前曾經聽過回聲，我們很想邀請你回來看看，這些年我們各自走了多遠，又怎麼重新走到一起；如果你是最近才第一次聽到回聲，那更歡迎你來。你不需要知道我們以前發生過什麼，因為這就是現在的我們。」

他們將於 8 月 29 日在 Legacy Taipei 舉行「靈魂的回聲 + 記憶的回聲」專輯首演演唱會。串流上的音樂可以聽一萬次，但現場的那一次，就是那一次，不會再發生。讓我們一起走進這個時空蟲洞，聽見自己靈魂最真實的回聲。

購票連結：https://tixcraft.com/activity/detail/26_echo

Q1：這次回歸不僅推出新專輯，還把團名從原本的「Echo」改為「Echo of Your Soul」。這個轉變背後，對現階段的你們來說象徵著什麼樣的全新完整性？

回聲樂團：其實「Echo」這個名字一開始滿隨性的。19 歲的時候，柏蒼跟清大迴聲社的朋友在新竹酒吧演出，臨時需要一個團名，就這樣叫了 Echo。後來樂團發展得很快，這個名字也就一路跟著我們二十幾年。

但「Music is the Echo of Your Soul」一直是我們很重要的一句話。音樂是靈魂的回聲，你經歷過什麼、愛過什麼、失去過什麼，最後都會以某種形式留在音樂裡。所以這次改成 Echo of Your Soul，反而不是變成一個新的樂團，而是終於把原來沒有說完的名字說完整了。

二十幾歲的我們可能比較在意「我要做出什麼樣的音樂」，現在重新回來，反而會去想「我們為什麼還要做音樂」。經歷休團、家庭、工作、人生很多變化之後，最後五個人還願意回到同一個練團室，我覺得這件事情本身，就已經回答了這個問題。

Q2：歷經長達 8 年的休團與各自成家立業、創業，大家重新聚在一起練團、找回手感時，有沒有遇到什麼有趣的摩擦或感動？

回聲樂團：很有趣的是，我們的人生改變很多，但一拿起樂器有些東西幾乎沒有變。這幾年每個人其實都去了非常不同的地方。有人創業、有人做健身產業、有人研發吉他、有人把時間留給家庭跟孩子，搬到台南生活。大家已經不是以前那群可以一個禮拜練很多次團的狀態，所以光是要把五個人的時間湊在一起，有時候就比編曲還困難。可是開始演奏之後，那種默契又很奇妙地回來。

印象很深的是浪人祭之後，我們發現台下真的還有人記得這些歌，甚至有人因為看到我們重新站在台上而哭。那時候才意識到，原來這個樂團不只是我們五個人的記憶，它也存在在很多人的人生裡。

所以後來我才會想把大家重新找回來。既然我們都還喜歡一起演奏，也還有話想說，那是不是可以不要只停在一次限定復出，而是真的再做一張新的作品？

Q3：專輯以「末日浪漫主義」為核心，你們心中浮現的是什麼樣的畫面？

回聲樂團：我們想像的末日，其實不一定是隕石掉下來、世界爆炸那種電影式的末日。它也可能是我們現在每天正在經歷的世界，AI、戰爭、氣候變遷、社群媒體、數位焦慮，所有事情都變得非常快。我們擁有的科技越來越強大，但人好像沒有因此比較不孤單。

所以「末日浪漫主義」真正想問的其實是：如果所有東西最後都會消失，那什麼東西還值得留下？專輯裡有一句很簡單的話：「這種時候，覺得身邊有你就已足夠。」我們覺得那差不多就是整張專輯的核心。

不是因為世界很美好，所以我們浪漫；反而是因為知道萬物都會消失、人生很短暫，所以此刻還能夠相遇、喜歡一個人、跟一些人一起做音樂，才變得特別珍貴。

Q4：專輯中非常抓耳的〈Because I Love You So〉，聽起來非常復古且迷人。這首看似浪漫的情歌，在合成器流行與吉他包裹下，想傳達的是一種什麼樣的末日告白？

回聲樂團：這首歌表面上可能是整張專輯最像情歌的一首，但它其實在講「存在」。歌詞裡我們寫：「也許相遇過後只剩無常的詠嘆，但若你記得我，我就會存在。」

宇宙這麼大，人的生命其實非常短，我們彼此相遇的時間可能只是一瞬間。但如果那個瞬間曾經被另外一個人記得，它是不是就以某種形式繼續存在？所以它的末日感不是悲壯的，比較像是在世界消失之前，我不需要再說什麼很複雜的話，只想讓你知道因為我如此愛你。

音樂上我們反而故意讓它非常浪漫，用 Synthpop 的合成器、很大的吉他音牆，加上尹均那種很日系、英雄式的吉他 solo。它有一種八、九零年代科幻愛情電影的感覺。好像兩個人在非常巨大的宇宙裡短暫碰到彼此，然後又各自離開。

Q5：專輯中也收錄了像〈訂閱冥想〉這樣探討現代人社群焦慮與荒謬感的歌曲。在數位生成與快節奏的時代，你們覺得「實體與真實經驗」為什麼無可替代？

回聲樂團：〈訂閱冥想〉裡有一句我們自己很喜歡：「購買焦慮之後，訂閱了冥想。」我們現在很多問題跟解決問題的方法，其實都是同一套系統提供給你的。它先讓你焦慮，再賣一個解除焦慮的方法給你；讓你覺得自己不夠好，再告訴你要怎麼成為更好的自己。

但我們不是站在外面批判這件事，因為我們自己也活在裡面。所以歌詞才會寫「蠢得無法自拔，我們都一樣」。也因為這樣，我們反而越來越珍惜那些不能被數位取代的東西。

像五個人真的待在一個空間裡演奏，鼓的空氣震動、吉他 amp 推出來的聲音，甚至某個人彈快了一點、慢了一點，大家跟著改變，那些不完美其實才是「人」存在的證明。你可以在串流上聽一萬次一首歌，但站在演唱會裡，跟幾百個人一起唱同一句歌詞，那一次就是那一次，不會再發生。

對我們來說，那種不可複製性，反而變得比以前更珍貴。

Q6：〈誰的心忘了〉是從舊硬碟挖出來的早期 Demo，時隔多年重新整理它，當時和現在的心境有什麼微妙轉變？

回聲樂團：很有趣的是，一首歌被放在硬碟裡這麼多年，再打開的時候，已經有點不像是在聽自己的作品，而像是在看以前的自己。

〈誰的心忘了〉本來就在寫記憶這件事。鑰匙、雨傘、心跳、時間，很多生活裡很小的東西都會忘記，可是有些情感的身體記憶反而一直留著。

年輕的時候寫「忘記」，可能比較接近一段關係或某個當下的情緒；現在重新唱它，會覺得「忘記」本身其實也是人生的一部分。

我們記得的、忘掉的，最後都慢慢變成現在的自己。

所以這次沒有想把它硬做成年輕時候的樣子，而是接受它已經經過這些時間，讓現在的回聲樂團重新把它說一次。Lo-fi 的吉他、空間感和那些帶毛邊的聲音，也很像記憶本身，不完全清楚，但反而因此更真實。

Q7：這次首批實體專輯特別採用了雙 CD 的豪華編制，一邊是全新創作的《靈魂的回聲》，另一邊則是重新錄製六首樂團早期經典的《記憶的回聲》。樂團曾形容這像是一個「連通現在與過去的蟲洞」。可以和我們聊聊當初怎麼會決定用這種「雙專輯」的形式來作為睽違 12 年的回歸見面禮？在曲目挑選上有什麼特別的考量？

回聲樂團：因為我們不希望這次回來只是做一張懷舊精選。所以《靈魂的回聲》裡的十首歌全部都是重新聚首之後的新創作。對我們來說，如果要重新成為一個樂團，就一定要有「現在」的作品，而不是只靠以前的歌活著。

但另一方面，我們也想回顧過去。所以才有了第二張《記憶的回聲 Echo of the Echo》，重新錄製〈天馬神風〉、〈感官駕馭〉、〈繞〉、〈解放〉、〈OK?〉、〈瞬間〉這六首歌。挑這六首，一方面是因為它們的實體版本已經絕版很多年；另一方面，它們經過團員更迭、休團、甚至二十幾年的時間，在今天的現場還是非常有生命力。

所以我們一直覺得這兩張 CD 很像一個蟲洞。一邊是現在的我們，一邊是二十幾年前的我們。你可以從任何一邊進去，最後都會遇見同一個樂團。

對一路陪著我們走過來的人，它像是一份見面禮；對第一次認識回聲的人，也可以一次聽見我們從哪裡來，以及現在走到了哪裡。

Q8：這次專輯除了主唱柏蒼領銜製作，更邀請到了配樂大師侯志堅與知名製作人韓立康。兩位音樂人的加入，在專輯的「電影感配樂美學」和「英式搖滾撞擊」上，有為你們帶來了什麼樣火花或妥協？

回聲樂團：這次我們其實很想保留「回聲就是一個樂團」這件事，所以整張專輯的核心還是五個人的演奏，以及我們原本很熟悉的英倫、華麗搖滾和日系搖滾血統。但這次的世界觀比以前大很多，有宇宙、科技、末日、數位世界，所以我們也希望聲音可以超越一般 Band Sound。

侯志堅老師參與的〈Take a Shine〉就是很明顯的例子。那首歌本來就是柏蒼在坂本龍一過世之後寫下的作品，侯老師用鋼琴跟電子聲響，把它帶進一個非常有 90 年代坂本龍一電影配樂氣質的空間。那已經不太像一般樂團在「編一首歌」，而比較像是在替一個不存在的電影配樂。

韓立康帶來的則是另外一種撞擊，他對樂團聲響、吉他和製作有非常鮮明的想法，會讓我們原本熟悉的英式搖滾語言被重新檢視。

Q9：8 月 29 日即將在 Legacy Taipei 舉辦「靈魂的回聲」專輯首演演唱會，這也是繼回歸後難得的大型專場，這次會帶給樂迷什麼樣的視聽編制與驚喜？

回聲樂團：這張專輯有大量的合成器、電子聲響、吉他音牆，以及非常極端的動態，有〈撲向那隻狼〉這種大家可以一起唱的 Arena Rock，也有〈Take a Shine〉這種很安靜、很電影感的作品。當然，既然是睽違這麼久的大型專場，也不可能只有新歌。我們會讓現在的《靈魂的回聲》和過去的《記憶的回聲》在 Legacy 同一個晚上真正接在一起。

Q10：對一路支持到現在的老歌迷，以及新聽見回聲樂團的年輕世代，有沒有什麼話想對大家說，並邀請大家來聽專場？

回聲樂團：我們最近演出的時候，有一個畫面其實讓我們很感動。台下不只有以前一路聽回聲的樂迷，也有他們的孩子，甚至我們自己的孩子。

音樂很神奇，它可以讓二十年前的一首歌，在今天重新發生；也可以讓一個今天第一次聽見回聲的人，跟二十年前的我們產生連結。所以如果你以前曾經聽過回聲，我們很想邀請你回來看看，這些年我們各自走了多遠，又怎麼重新走到一起。如果你是最近才第一次聽到回聲，那更歡迎你來。你不需要知道我們以前發生過什麼，因為《靈魂的回聲》就是現在的我們。

8 月 29 日，我們想把過去、現在，甚至下一個階段的回聲，都放在同一個晚上。

【專訪】阿蘭 AC〈漫漫長夜〉當 2000 年代 R&B 遇上現代靈魂樂

2026-08-05T18:36:36.943+08:00

當城市逐漸安靜，思念與情感卻在夜深人靜時變得格外清晰。阿蘭 AC 全新單曲〈漫漫長夜〉以兩千年代的復古 R&B 律動為底，揉合細緻的碎拍與弦樂，唱出那些在黑夜裡最真實的依戀與承諾。走過樂團與比賽舞台，現在的他唱歌少了一絲掙扎，多了一份時間沉澱下來的從容與純粹。

在漫漫長夜裡，與好青年一起走進阿蘭 AC 的音樂溫室，聊聊音色裡的直覺、創作身分的切換，以及對於未來的音樂許願。

Q1：新歌〈漫漫長夜〉的歌詞展現了極大的陪伴感。請問這首歌最初的創作靈感，是源自於你生活中的某個特定深夜，還是長久以來積累的感觸？

阿蘭 AC：都有。

的確得經歷過了很多很多的拉扯，才能在某一天的晚上，將所積累的靈感創作出來。

我們或許都經歷過無數次的夜晚，有時這份孤獨很美好，有時很殘酷，如果剛好能夠有一盞燈光靜靜陪伴著，所有情緒都會被放大，於是這首歌就產生了。

Q2：這首歌充滿了 2000 年代流行情懷的抒情 R&B 律動。你之前提過周杰倫對你的音樂啟蒙很大，在製作這首歌時，你有揉合了哪些那個黃金年代的音樂元素嗎？又是如何加入阿蘭 AC 專屬的現代靈魂樂質感？

阿蘭 AC：我認為從「節奏型態」跟「音色」能夠表現風格及年代感。

這首歌最明顯的應該是在「律動感」。Kick 很多時候會安排在結尾 1 4 7 bar 進行過門，還有 Percussion 常使用三角鐵 808 hihat 表現碎拍。再來對我來說一直是華語流行不可或缺元素之一的弦樂，還有一些旋律上的音階走向。

因為過去深受黑人音樂及福音風格的影響，和聲按照自己聆聽內化的經驗呈現，副歌就大量地用和聲堆疊取代 Lead Vocal，而我再穿插其中、最後拉回主軸。這個安排其實蠻有趣的，感覺之後在專場或演出場合也可以跟大家合唱。

Q3：作為這首歌的詞曲、編曲兼製作人，你用了非常絲滑且溫柔的音色去烘托「長夜」。在編曲設計上，你最喜歡哪個樂器的編排或小細節？

阿蘭 AC：當然會說每個經過細心處理的設計（笑）。

不過認真說的話，在開始製作這首歌的時候已經預想好需要由弦樂鋪陳，因為更能夠扣人心弦，並在緊湊的旋律中點綴、在豐沛的情緒中烘托、在綿密的歌詞中碰撞，豐富作品整體層次。

Q4：近期你為 A-Lin、丁噹、曾沛慈等眾多華語天后操刀創作，好評不斷。在幫別人量身打造，與回歸自己唱出個人心聲之間，你在創作心態與切換角色時，最大的挑戰與樂趣是什麼？

阿蘭 AC：創作心境的切換是必然，一直是工作的一環。

雖然在為別人寫歌的時候，都會設身處地從他人著想及出發，有時更會事前做足功課，把歌手過去作品聽一輪，研究對方的音域、詮釋方式等，最後成品出爐時還是會投射到自己身上，進而發現一件事：原來我也可以這樣唱？

過程中我也在學習跟認識自己，不再被慣用的創作思維侷限，跳脫出來會發覺其實可以嘗試更多可能性。

挑戰的話應該就是女 Key 實在不好駕馭。

Q5：你曾幽默地稱自己為「音樂農夫」，在名為音樂的溫室裡耕耘著不同曲風。從先前的單曲〈Dust〉到現在的〈漫漫長夜〉，你覺得自己的「音樂溫室」裡，最近又長出了什麼樣全新或有趣的品種？

阿蘭 AC：這幾年有一些轉變，不論工作的環境、認識的朋友、吸收的新知，都讓我心態上有很多不同的看法。

過去的我可能會專注在自己的「音樂溫室」創作出品種，接下來我很想走出去，試試看自己一直以來沒有碰過的東西，也許是過去想要嘗試而沒嘗試的，抑或是過去抗拒而現在已能接受的，享受踏出舒適圈碰撞的火花跟產生的酷東西！

Q6：與過去在樂團唐貓或《聲林之王》的時期相比，現在的狀態給了你什麼樣的自由度？你在創作上是否變得更「任性」或更純粹了？

阿蘭 AC：感覺因為時間跟經驗的累積，創作起來更順也更成熟了一些，過去會一直思考的盲點後來大部分都能夠解決。

反倒對於自己的「自由度」這題值得反思。應該說需要更加任性地表現純粹？還是別想太多忠於自我當下的感受才是純粹？這對於我這種想比較多的人有太多種解讀了。

不過唯一有感的是，唱歌不再如此用力，過去有時會出現的掙扎感似乎消除了一些，也可能是不再年輕的關係。

Q7：既然新歌叫做〈漫漫長夜〉，大家很好奇「蘭哥」在深夜的生活型態。你通常是一個熬夜創作的夜貓子嗎？在那些漫漫長夜裡，除了做音樂，什麼樣的事情最能讓你放鬆、重新充飽電？

阿蘭 AC：好消息是最近這一兩年的睡眠時間已經校正回歸，非必要不會熬夜，並在早上固定時間起床吃早餐。壞消息就是基本上不會熬夜創作，其實蠻傷身。

過去幾年就是因為每天熬夜到早上，身體狀態出現問題。奉勸各位創作人要多留意，除非肝還很新鮮。擁有健康的身心狀態，才是能繼續往前的關鍵！所以我會運動、會健身、會去戶外走走，重點就是暫離原本的工作範圍或環境。

Q8：面向未來，你有給自己設定什麼樣的音樂里程碑，例如專輯、專場，或是非常渴望的跨界合作嗎？

阿蘭 AC：告訴自己在工作之餘，多多留給自己時間去累積作品。

希望未來可以有一場專場，因為從首張專輯至今還沒有舉辦過。

至於渴望的事情就先賣個關子，目前都在努力許願跟實踐中，相信會在時機成熟時展現給大家囉！

Q9：這首歌就像是一封寫給所有聽眾的陪伴情書。最後，有沒有什麼話想對一直支持你，在深夜循環播放〈漫漫長夜〉的歌迷們說？

阿蘭 AC：夜深人靜時，就讓這首歌〈漫漫長夜〉陪伴你度過一個夜晚。

其實我才要感謝歌迷跟聽眾，讓我的聲音參與到你們的人生，哪怕一小段而已。

Q10：如果請你為正在經歷漫漫長夜的人推薦幾首你私心最愛、最能療癒靈魂的歌曲，你的清單會有哪些歌？

1. Frank Ocean - Self Control

2. 方大同 - 才二十三

3. 阿蘭 AC - Dust

【專訪】aDAN薛詒丹，攜手 Gummy B 譜出深夜〈出口〉，日落後的世界，換我駐守。」

2026-07-31T18:59:25.948+08:00

「日落後的世界，換我駐守。」

從《孤獨金魚圖鑑》的都市孤獨，到全新單曲〈出口 Way Out〉，aDAN薛詒丹這次在 Sōryo 鋪陳的霓虹夜色中，與 Gummy B 展開了一場深夜的迷惘對話。那些獨自前行的遺憾，都在另一個聲音加入後被溫柔接住。

這次《青年的音樂清單》邀請到阿丹，聊聊這首由她親自操刀製作、與 Gummy B 共同詞曲創作的單曲。不只記錄了她在聲音演繹上的調整，更揭密了這場「演出先行」的熱血合作，並搶先預告了 2026 下半年的音樂計畫。

這首歌，想送給在都市裡努力了很久的你。既然時間一直往前，那我們就一起往前走，尋找屬於自己的出口。

Q1：這次的合作源自於妳三年前在金音獎看完 Gummy B 的演出，當時是被哪一個瞬間給擊中？

aDan：很強的氣場跟表演感，歌又好聽，那天現場的音場也很棒，回家路上馬上打開《安泰》來聽。

Q2：這次和 Gummy B 的合作是根據 Demo 一起討論編曲的鋪陳、以及演唱與饒舌段落的分配。這種腦力激盪的過程，跟以往妳獨自做歌、或是傳統的合作模式相比，帶給妳什麼不一樣的共創火花？

aDan：這次其實一起討論了很多很細節的東西，從整首歌的 flow、和弦怎麼調整，到段落的安排，比如這裡要不要換一個走向、最後要不要再多加一段 hook，都是一起討論出來的。

雖然這首歌最初的雛形是從我這邊開始，但經過這樣來回的腦力激盪之後，整首歌突然有一種煥然一新的感覺，而且不是誰去配合誰，而是真的一起找到這首歌最適合的樣子。

我也很喜歡最後呈現出來的狀態，就是我唱的地方還是很「阿丹」，Gummy B 的段落也非常「Gummy B」。彼此的聲音定位都很明確，在保留各自特色的同時，又可以在同一首歌裡找到一個很自然的交集，我覺得這就是這次共創最有趣的地方。

Q3：Gummy B 曾形容這首歌的 Demo 給他一種「夕陽西下、一個帥帥的背影走掉」的畫面感。妳自己當初寫這首歌時，腦海中的畫面也是如此嗎？後來透過 Sōryo 的編曲，妳們是如何聯手把這個抽象的背影，具體化成這首充滿都會霓虹與夜色感的歌曲？

aDan：其實我當初的畫面跟 Gummy B 蠻不一樣的。印象中兩年多前寫下這首歌的時候，腦海裡反而是一個有點潮濕的陰天。當時甚至還沒有歌詞，只有旋律，我只是隨機用一些日文哼唱把它記錄下來。

但隨著時間推移，到了 2026 年，我自己對這首歌的感受也已經改變了。所以當我們重新打開這首 Demo 的時候，我覺得它其實也重新開放了命題，不需要被兩年前的想像綁住。

對我來說，一起做歌很重要的一件事，就是去找到彼此對歌曲感受的交集。Sōryo 在開始編曲之前，特別花時間理解我當初的創作動機，以及現在重新面對這首歌時的心境；Gummy B 也帶進了他聽見這首 Demo 時所產生的畫面。

所以最後大家聽到的那種都會、夜色，或某種帶著距離感的氛圍，其實不是我們一開始就設定好要做成什麼樣子，而是在三個人都願意分享、也願意理解彼此感受的過程裡，很自然產生出來的交集。

Q4：你們在文字和概念上的對話，當時在分配這首歌的「敘事視角」時，你們是怎麼溝通的？他寫的詞有沒有哪一句讓妳特別有共鳴？

aDan：我們其實沒有特別去分配敘事視角。我先完成了自己的歌詞，Gummy B 再按照他對這首歌的感受去發展他的部分。

結果他的詞一來，我就覺得太讚了。因為我寫的部分比較像是一個人在迷惘裡前進，走在無人的街道上，不太確定出口在哪裡；但 Gummy B 的段落一出現，突然像是多了一個同行的人。原本我沒有預設這首歌會有這樣的角色，但聽到之後才發現：對，這首歌真的很需要有這個人在。

尤其是「也會有出口，日落後的世界換我駐守。」這句一出來，我覺得整首歌的視角突然被打開了。前面那些迷惘似乎有人接住了，有一種很安心的感覺。

Q5：這首歌的詞句非常細膩，描寫了人在低谷中的迷惘、荒涼與遺憾。在錄音或創作時，妳是否也投射了自己近幾年在音樂路上、或身為都市人的真實脆弱？妳希望這首歌能給正處於同樣狀態的人什麼樣的「出口」？

aDan：我的歌其實一直都融入很多很「入世」的體會，因為創作對我來說本來就來自生活，而我就生活在這座城市裡。

從以前的〈生存偏見〉、〈怎樣的大人〉、〈故事依然繼續〉，到第二張專輯《孤獨金魚圖鑑》，其實一直都在寫都市生活裡的孤獨、迷惘與渴望，也寫人在這些狀態之中，怎麼繼續尋找自己的方向。所以〈出口〉對我來說，也是這幾年生活和創作經驗很自然的延續。

我想把這首歌送給那些已經有點累了、覺得自己努力了很久的人。想跟他們說：再給自己一點時間，也不要放棄希望。即使現在還看不清楚方向，只要繼續往前走，沿途的風景會慢慢改變，也一定會找到屬於自己的出口。

Q6：這首歌其實是上一張專輯《孤獨金魚圖鑑》籌備初期的 Demo。當時專輯用「金魚在魚缸裡兜圈」隱喻都市人的孤獨。如今這首新單曲取名為〈出口〉，是否代表著這幾年下來，薛詒丹在心理狀態或創作視角上，已經找到了打破魚缸、走向更開闊地方的方法？

aDan：歌名是我們一起討論的，而且很快就定調叫〈出口〉，因為覺得切題、簡單，也很有力量。

如果把它跟《孤獨金魚圖鑑》放在一起看，我不確定自己是不是已經找到了「打破魚缸」的方法，但經過這幾年，的確多少長出了一些能撐在心裡的力量。以前可能更常停留在困惑裡，現在則會覺得，即使還不知道出口確切在哪裡，也還是可以選擇繼續往前。

畢竟我們正在經歷的每一秒，到了下一秒就已經成為過去。既然時間一直往前，那我們好像也只能、也應該繼續往前走了。

Q7：妳過往的音樂偏向精緻的 R&B 與爵士。這次為了融入嘻哈的語境與強烈的節奏顆粒感，在聲音演繹上，妳有刻意做出什麼以往比較少見的嘗試或調整嗎？

aDan：這次有提醒自己把咬字放鬆一些，錄音時也更在意節奏感和口氣，希望聲音可以自然地融進整首歌的 groove 裡。

Q8：回顧妳過往的男女合唱，從李英宏的〈沙發危機〉、鶴 The Crane 的〈差一點的我們〉，到這次與 Gummy B 合作〈出口 Way Out〉。跟這三位風格截然不同的男歌手合作，有分別帶給妳什麼不一樣的化學反應嗎？

aDan：不只是三位音樂人的風格不同，其實三次合作的起點和方式也完全不一樣，所以很難一一比較。

比較特別的是，這次和 Gummy B 是第一次「演出先行」的合作。我們先在《孤獨金魚：自由的練習》專場首唱，之後才正式進入單曲製作。從決定合作、一起把歌完成，到直接搬上舞台，整個過程很熱血，但同時也很理性、有效率。現在回頭看，很像是一起完成了一個原本覺得不太可能的任務。

Q9：〈出口〉是妳二專後的首支主導單曲，也預告了接下來還會有更多全新作品。可以提前跟《好青年的音樂清單》的讀者透露接下來的音樂計畫嗎？

aDan： 2026 下半年預計還會有兩首合作歌曲以及另一首主導單曲發行，每首歌都非常不一樣，可以期待

Q10：最後，想請 aDAN 推薦幾首感到迷惘時最常聽的私房歌曲？

aDan：很偶爾我會重聽自己 2022 年發行的〈怎樣的大人〉。有時候回頭聽，反而會被當時的自己安慰到。這首歌真的蠻療癒的，當然還有新歌〈出口〉，都很推薦給大家。

【專訪】洪安妮的倫敦音樂自白：在《a piece of peace》裡，允許自己休息

2026-07-26T19:00:00.000+08:00

「點亮一盞午夜的燈，在這個空間裡，

你可以允許自己脆弱與瓦解。」

如果你曾被〈我喜歡你〉的青澀告白打動，或在〈好好〉裡被溫柔拉住，那你一定知道洪安妮。她的歌聲像是一道不刺眼的微光，總是在人們最孤獨、最需要陪伴的時刻，悄悄遞上一條手帕。她不僅是療癒無數靈魂的創作歌手，也是深夜裡用《好晚安電台》撫平失眠者的溫暖陪伴者。

你也是那個在理想與現實間拉扯，

連休息都帶著罪惡感的人嗎？

這次，《好青年的音樂清單》特別邀請到安妮。

帶著今年發行的新專輯《a piece of peace》與即將在倫敦百年古蹟 St. Pancras Old Church 舉辦的專場，安妮與我們聊聊那些在異鄉、在都市裡流浪的心情。安妮說，這張專輯就像是一個環境音，她不想大聲宣讀什麼大志，只想溫柔地告訴你：「把自己做得到的小事做好，就很棒了。」

無論你是在異鄉打拼的流浪靈魂，還是在深夜獨自流淚的失眠者，這場專訪與安妮推薦的私房歌單，都將成為你今晚的避難所。

Q1：新專輯《a piece of peace》給人一種非常溫柔、像是在微光中被擁抱的感覺。如果要把這張專輯具象化，妳覺得它最像什麼？

洪安妮：我覺得它像是一個房間，午夜窗外已暗，寂靜到有點孤單，但房間裡亮著一盞我很喜歡的燈。

Q2：我們常在理想與現實間拉扯。妳在新歌〈無大志〉中唱出「只想一直休息」的心聲，這是在什麼樣的狀態下寫出來的？妳是如何看待「躺平」的渴望？

洪安妮：有一天早上起床，覺得自己怎麼還沒成大事的無力感，就用有點算了吧的心情哼哼唱唱出來。另一方面，因為我本身是屬於野心比較小的性格，或者是說，我喜歡做我喜歡、擅長的事情，也會樂於在之中努力，但不是因為想到達某個成就或社會目的而做。這樣的價值觀在世界上常常會被認為是不夠努力、不夠有用，但現在的我認為，把自己做得到的小事做好，就是很棒的了，大志或小志的大小標準、分數框架，我認為不是只有唯一的評斷標準，最重要的是無愧於心、坦蕩蕩。

躺平這件事，我覺得看每個人的恢復機能，有長有短，但不能沒有。真正心無旁騖地休息我覺得很難達到，因為我們甚至連做夢都在擔心和焦慮。「休息是為了走更長遠的路」這句話，我其實是感到壓力的，因為這個休息還是帶著目的，但我覺得如果能做到「就只是休息」就能感受到非常高品質的充電。休息過後，又是新的一輪了。如果能做到，我覺得是很厲害的。

Q3：很多人覺得妳的歌聲很療癒，但「療癒者」往往也承載了很多情緒。當妳自己感到疲憊、或找不到平靜時，都靠什麼方式幫自己充電？

洪安妮：我創作最初的目的其實是要療癒自己的，但音樂和歌詞和人可以連在一起，所以也療癒了其他人。前一陣子我處在非常糟糕的狀態，某一些時刻，突然被我好久以前寫的歌療癒了，好像以前的自己在鼓勵現在的自己，穿越時空對話的感覺。另外，雖然看起來我是療癒者，但也經常被歌迷的回饋和文字鼓勵大大療癒，所以我很珍惜和享受這份雙向的療癒能量。再來是，獨處是我最常做的充電模式，也是很重要的時間。

Q4：妳的專輯《A Room in Brockley》與新專輯《a piece of peace》都是在倫敦創作的。空間的轉變對妳的創作帶來了什麼質變？倫敦這個城市有改變你觀察世界的方式嗎？

洪安妮：我的創作大部分是透過觀察和體驗生活而來，所以空間的轉變雖然很快，但觀察和體驗是需要比較長的時間去吸收、消化、再轉變成我的表達方式，因此我覺得那個變化一開始很難感覺到。但一直到最近，時間拉長，我發現我很多以前沒發現的自己：「原來我不是那樣的人啊」、「原來我是喜歡這些啊」......，我覺得這些是因為我離開安全舒服的家鄉，來到倫敦體驗很多事情、經歷以前沒經歷過的情緒、感覺，認識不同的人、聽到不同的價值觀和故事，同時也更了解自己，這些都改變我觀察世界的方式。這些改變的確是因為身在倫敦這個既複雜又豐富的物理環境而接收到的一切訊息。

Q5：新專輯名為《a piece of peace》，這張專輯彷彿是妳為大家建造的一個「避難所」。在聽覺與編曲上，這次有做什麼特別的嘗試或堅持嗎？

洪安妮：製作上，我把這張專輯做成好像是一整首歌，也很像在工作、通勤或準備睡覺前的環境音，放完好像沒感覺，但一旦停止播放好像又覺得奇怪。希望是有這樣的效果。

編曲上這次也是非常極簡，整張專輯用的樂器是一把我在 yard sale 買到的尼龍弦吉他。那時候我就想用尼龍弦吉他錄專輯，但我手上只有鋼弦的，所以就再查要買哪款。結果隔幾天為了拜訪 Ripley（我在倫敦第一年認識的鄰居貓，她陪我走回家好多個夜晚，但在去年回喵星）的主人，回到第一年倫敦住宿的社區，結果就遇到這把尼龍弦吉他。我覺得我和這把吉他是有緣份的，而且是 Ripley 也連在其中，所以對我來說是很有意義的，雖然那只是 30 鎊的基礎練習琴，但我還是決定用在錄製專輯。

Q6：在倫敦生活期間，有沒有哪一個瞬間，讓妳覺得「啊，這就是我想記錄在音樂裡的畫面」？

洪安妮：其實每一首歌都是～〈a piece of peace〉比較具體一點，這首歌的 MV 是我在 Hastings 的山坡公園上錄下的影片（雖然不是倫敦），那天的日落我待了兩三個小時，一個人看著那樣的風景，想著：「啊！這就是我的 dream life 啊，好想一直在這裡～」那是一個非常寧靜的氛圍，一片景色中有山、有海、有月亮、有小徑、有被風緩緩吹動的雲。所以我錄下影片，保存那時候非常 peace 的時光。也是久違感受到內心的寧靜。

購票連結：https://gotobeat.com/gig/anni-hung-live-in-london-st-pancras-old-church-a1/

Q7：這次即將在 8 月 14 日登上倫敦古老歷史古蹟 St. Pancras Old Church（聖潘克拉斯老教堂）演出！當初怎麼會選擇這個如此神聖又神祕的場地？有什麼期待與驚喜嗎？

洪安妮：這次想辦在一個符合專輯主題的空間，剛好有機會在這邊辦～之前知道這個場地是因為英國研究所同學有在這邊演出過，那時候就想說哇好美，希望以後也有機會在老教堂演出，很幸運～

其實我也蠻期待當天會怎麼樣的氣氛，我覺得跟當天的觀眾也會有關，所以這一切是未知且令人興奮的～驚喜還沒確定，但目前有一些想法，請大家當天來感受一下！！

Q8：對於當天會來到現場、在異鄉打拼的聽眾們，妳希望這場演出能像一個什麼樣的「存在」陪伴他們？

洪安妮：在異鄉打拼的流浪的人們～我覺得我會一直存在某種孤獨，平常忙碌的話還好，但只要低潮、遇到很糟的事、很不順的狀態的話，那個感覺會立刻浮現並且放大。我在倫敦其實看過不少人在路上或地鐵上哭，我也有過，而路人可能會裝作沒事給你空間，也可能會遞給你衛生紙，或是給你一個擁抱。我希望這場演出可以是很舒服程度地存在，允許自己脆弱、瓦解，在這個三個小時的時間、這個平靜的空間，可以暫時隔絕一切，就只是休息、只是聽音樂、只是疼愛珍惜自己。

Q9：妳自己也經營 Podcast 節目《好晚安電台 A Good Night Radio》，在深夜陪伴許多失眠的靈魂。如果此時換成是主持人 nn 自己需要被治癒，能否請妳推薦幾首能帶給妳片刻平靜的私房歌曲？

青葉市子《qp》專輯
方大同《未來》專輯
落日飛車《Quit Quietly》
還有我的《a piece of peace》

【專訪】許瓊文 NinjaWenWen 個人首支單曲〈自溺者〉，澆灌你的渴

2026-07-19T19:00:00.000+08:00

這十年來，她的聲音在好樂團裡溫暖、陪伴著無數個需要安慰的靈魂。但這一次，她決定以個人的模樣跳出來，大膽探索不同的聲音色彩。全新出發，帶著滿滿挑戰欲的創作者，NinjaWenWen 許瓊文。

首支個人單曲〈自溺者 The Drowned〉，是她對現代人集體焦慮的一場大型側寫。瓊文把那些細微的人類行為，揉進古老的神話裡。

如果現在你也正被某種焦慮淹沒，不妨點開這首歌，搭配好青年的專訪。在許瓊文全新勾勒的腦內喧嘩裡，放心地跟著她自溺一次。

Q1：好樂團今年邁入第十年。在有固定音樂夥伴子慶的狀態下，為什麼會在這個時間點，突然想「一個人」跳出來做音樂？心情上有什麼最大的不同？

許瓊文：這十年來我以好樂團主唱的身分在音樂工作中打滾，也陸續與不同音樂人合作，過程中我也持續進修自己的唱歌部分、創作上也隨著年齡增長有更多不同面向的靈感。我發現自己學得越多，想挑戰的事情也越來越多，對於不同風格的音樂創作產生好奇，於是決定在今年首度嘗試用不同的風格去詮釋更多想法。

對我來說，我把自己視為一個新人在經營，有種一切重新開始慢慢建立的感覺。和樂團不同的地方在於樂團的一切決策和行動都是兩人一起，而做自己的作品就是一個人籌備、執行一切，難免會有更多的緊張和自我懷疑。所以也滿感謝身邊的人支持我，以及現在有 AI 可以一起分析一些數據，試圖去找方法了解作品的狀況、優化宣傳內容。

Q2：〈自溺者〉充滿了迷幻、電子與 Emo 的色彩。這樣的風格是妳一直想嘗試的嗎？

許瓊文：對的，我其實一直很想試試看自己的聲線搭配這樣的編曲風格會碰撞出什麼樣的火花，加上平常我自己也滿喜歡聽這樣的音樂。這首歌有兩位製作人，一位是擅於整合不同風格編曲、加入聽覺巧思的殷陽；一位是擅長用 beat 編排說故事的 Beatmaker Neil YEN，我覺得找他們合作讓這首歌得以有了完整又有趣的聽覺體驗！

Q3：歌詞中使用了「女媧造人」的傳說。當初是怎麼把這個古老神話，跟現代人在「包裝自我形象」的行為連結在一起的？

許瓊文：當初是先想到了我們不斷給自己塑造「殼」的概念，去比擬不斷塑造外在形象的行為。那因為殼是空心的（很容易一直被打碎）所以我就想到了「女媧造的人是實心的」，成為了整首歌的第一句歌詞。

Q4：妳把「倒水」這個日常動作轉化為「澆灌認同渴望」的意象。在妳自己的生活中，最容易讓妳感到「自溺」或被渴望淹沒的時刻是什麼？

許瓊文：我想應該是有時候會把自己的價值建立在外在給自己的回饋上。以我把音樂當職業這件事來說，有時候很容易會陷入各種分析裡面，從數字、各種留言、各種貼文去尋找自己的作品到底是不是「好的」的蛛絲馬跡。很矛盾的是我覺得把音樂作為職業的話，這些分析和了解市場是必要的，但也很容易陷在裡面、過度在意而忘了創作的純粹快樂。

Q5：歌曲中段特別邀請了音樂劇演員周家寬加入一段黑色幽默的口白。這個點子是怎麼來的？在歌裡扮演了什麼樣的角色？

許瓊文：這個一開始是製作人殷陽的巧思，希望在這首歌詞比較批判、emo 的歌裡面，添加一點荒謬感和幽默感，讓它更有層次，也更有一種「自溺」的感覺。

我們希望大家從歌曲開頭的戶外故事感，到進入重節奏的副歌，接著聽到一個彷彿電影裡的男子開始侃侃而談，會覺得準備聽一些正經內容，沒想到是一個冷笑話。這也是決定用英文冷笑話的原因，如果是中文的話聽眾一開始就會發現了。

我在 2024 年和周家寬合作演出《搖滾芭比》音樂劇，一直都知道他的聲音表現能力非常強（也是這首歌的英文歌詞翻譯者），邀請他來獻聲非常適合！

Q6：這首歌由妳的先生殷陽與 Beatmaker Neil YEN 共同製作。和這麼親近的人一起做音樂，過程中有沒有發生什麼好玩或意見分歧的趣事？

許瓊文：我和先生的討論一直都偏冷靜和盡量客觀，先生時常會提出一些我原本沒有想到的思考切角，也提出很多有趣的點子，在企劃上幫忙我很多。除了加入冷笑話口白以外，歌曲開頭和中間的戶外聲景也是他的想法，是我們一起到戶外去錄的。在 MV 中加入狗狗轉圈的畫面也是他想的。

和 Beatmaker Neil YEN 是認識很久的朋友，我很欣賞他用 beat 說故事的能力，每一次都會很有畫面！當時我們做完 Demo 以後，就交給他發揮。後來還有把我的 Vocal 和口白做取樣放在歌曲尾奏，有了大家的創意才讓這首歌更完整。

Q7：歌曲開頭是隨性的烏克麗麗與環境音，副歌卻突然轉進厚重的電子節奏與高音哼唱。這樣極端的「情緒反差」，在錄音室配唱時，妳是如何調配自己的聲音表情的？

許瓊文：我在錄音的時候腦子也會有整體的畫面，所以我們都會和製作人先討論出「唱這一段的時候我身在怎麼樣的環境和什麼樣的狀況裡」以及「我現在的情緒應該是什麼」，然後我就會把自己安排在那樣的空間裡去帶入來唱。我覺得這樣的想像，對於我要用什麼樣的唱法、力道、語氣、情緒等等都非常有幫助，也更貼近我們想透過歌曲傳達的感受。

Q8：〈自溺者〉是一個起點嗎？接下來有計畫推出個人專輯、EP，或者是好樂團的新作品嗎？

許瓊文：如果順利的話，我個人會繼續做歌，可能在明年推出一張 EP！也可能會規劃個人演出。好樂團則是會繼續寫歌，也會有合作作品，像近期（7/14）有發行一首翻唱歌曲〈大風吹〉！大家可以都去追蹤相關消息。

Q9：用飲料來形容，「好樂團的瓊文」與「許瓊文 NinjaWenWen」分別代表什麼？

* 好樂團的瓊文：熱燕麥拿鐵  溫暖、陪伴的感覺，在人需要安慰時出現。

* 許瓊文 NinjaWenWen：冰蘋果紅茶＋茶凍  清新感、卻也有茶的層次和深度，偶爾會有些驚喜和突如其來的怪想法，就像茶凍。

Q10：最後，能否請瓊文推薦幾首當妳自己陷入 Emo 或自溺狀態時，最常重複播放的「私房自溺歌單」？

Daniel Caesar – Moon (feat. Bon Iver)

鮮于貞娥 – run with Me

Billie Eilish – When the party’s over

Keshi - bandaids

草東沒有派對 – 床

Linkin Park – Faint

Lizzy McAlpine - Where Do I Go?

心愛的艾莉，《氣體人第一號》的宿命羈絆

2026-07-18T22:16:28.842+08:00

2026 年的現代科幻驚悚 🌬️

新版《氣體人第一號》由日韓頂尖團隊攜手打造，《噬亡村》片山慎三執導，《屍速列車》延尚昊編劇，更由奧斯卡特效團隊「白組」操刀視覺。故事講述能自由化為氣體的「氣體人」提田蓮（內田雅樂 UTA 飾），對社會展開瘋狂的無差別獵殺。但這不是單純的恐怖攻擊，他其實是 27 年前「白色中心」的受害者。新版以現代體制剝削與階級復仇為殘酷背景，並由停職刑警岡本賢治（小栗旬飾）負責追查這起連續離奇命案。然而，故事最核心的焦點則是在提田蓮與共同追尋真相的社會部記者甲野京子（蒼井優飾）之間，那段跨越立場、無比深刻的靈魂羈絆。

1960 年的昭和特攝純愛 ✨

這部影集大有來頭，它改編自日本電影巨頭東寶株式會社於 1960 年上映由本多豬四郎執導的同名傳奇特攝電影。橫跨 66 年的重啟，故事內核發生了巨大轉變。舊版的故事非常純粹且浪漫，講述圖書館員因實驗意外變成氣體人，他沒有想摧毀體制，他犯罪搶銀行，純粹是為了捧紅他心愛的日本舞蹈家。舊版是浪漫至上的個人純愛悲劇；而新版則是把怪物外殼剝開，裡面滿是被現代體制集體霸凌後的憤怒冤魂。

大間間昂編制氣體組曲：崩壞與再生 💨

為了襯托新版的現代黑暗風格，配樂大師大間間昂展現了極具壓迫感的音樂美學。他拋棄了舊版舊式的昭和浪漫，改用層層堆疊的弦樂與充滿攻擊性的低頻電子環境音，精準模擬出氣體在密閉空間中蔓延、擴散、讓人窒息的聽覺質感。

💖 南方之星〈心愛的艾莉〉（いとしのエリー）

這首 1979 年的國民經典情歌，在劇中被賦予了最極致的反差美學。編劇延尚昊透露自己在撰寫後半段劇本時，一直是聽著這首歌進行創作。當〈心愛的艾莉〉那無比深情、溫柔的旋律在冰冷的現場緩緩響起時，它根本不是氣體人的犯罪主題曲。那是一首蓮叔叔唯獨唱給京子聽的悲歌，他在這個利用完他就將他抹殺的現代社會裡，對這個世界上唯一願意傾聽他、直視他痛苦的家人，所留下的最後一絲溫柔。

“エリー my love so sweet” 🍜

新版《氣體人第一號》令人深刻的關鍵，就在於「用最溫柔的旋律，襯托最殘酷的現實」。獻給心中的那個艾莉，下次戴上耳機追劇，聽著那首老歌，你一定能聽見隱藏在霧氣背後，那聲屬於他們兩人的宿命嘆息。

#氣體人第一號 #小栗旬 #蒼井優 #南方之星 #いとしのエリー

RIP 永遠的鐵肺歌后 Bonnie Tyler 1951 - 2026

2026-07-11T00:38:03.939+08:00

Bonnie Tyler（邦妮·泰勒）是英國威爾斯的傳奇搖滾女歌手，以充滿爆發力、極具辨識度的沙啞嗓音聞名於世。她的音樂橫跨搖滾、鄉村與流行樂，演藝生涯留下了多首全球傳唱的經典金曲。

Bonnie Tyler 本名 Gaynor Hopkins，1951 年出生於英國威爾斯一個普通的煤礦工人家庭。她從小在大家庭中長大，並在教堂的詩班中接觸音樂。16 歲輟學後，她原本沒有想過未來會成為歌手，直到在威爾斯的俱樂部駐唱時被星探發掘。在早期的歌唱生涯中，她動過聲帶息肉切除手術。沒想到手術復原後，她的聲音帶上了一層低沉且富有磁性的沙啞質感。這種獨特的嗓音不僅成為了她的正字標記，更為她贏得了「英國洛史都華（Rod Stewart）」的稱號。

1976 年以單曲〈Lost in France〉首度打入英國排行榜前十名。1977 年推出的鄉村搖滾風格單曲〈It's a Heartache〉，是她早期的重大突破，成功打入英美單曲排行榜前段班，在全球獲得極大迴響。

1983 年的史詩級抒情搖滾神曲〈Total Eclipse of the Heart〉，由知名音樂人 Jim Steinman 創作與製作，一推出便橫掃全球榜單，不僅使她成為首位在美國單曲榜奪冠的威爾斯人，更讓她獲得了葛萊美獎最佳流行女歌手的提名。

旋律與靈感源自於 Steinman 想為音樂劇《Nosferatu 吸血鬼》創作的主題曲，原本副歌歌詞甚至帶有「吸血鬼的愛意」。富有歌德式、黑暗且濃烈的情感，最終完美轉化為〈Total Eclipse of the Heart〉中對逝去愛情的痛苦與哀求。

實體單曲至今已累積突破 1,300 萬張，數位串流平台上更有超過 10 幾億的播放量和觀看量。另外，每逢日食，這首歌就會「復活」，成為天文奇景的「指定國歌」。

1984 年為電影《Footloose 渾身是勁》錄製熱血插曲〈Holding Out for a Hero〉，由 Jim Steinman 譜曲與製作，充滿節奏感的搖滾曲風使其成為 80 年代的經典代表作之一。該曲至今仍頻繁被影視作品使用並廣為翻唱。

美國傳奇魔術師 David Copperfield（大衛·考柏菲）於 1984 年表演的「飛越大峽谷」（Floating Over the Grand Canyon），是他職業生涯中最經典的空中懸浮魔術之一。“I need a hero” 在 Bonnie Tyler 演唱〈Holding Out for a Hero〉的歌聲烘托下，他在眾人目擊下騰空而起，緩慢地漂浮並橫越了壯麗的科羅拉多大峽谷上空，留下令人難忘的震撼瞬間。

1986 年推出華麗硬式搖滾單曲〈If You Were a Woman (And I Was a Man)〉，在流行樂史上最著名的身份，便是 Bon Jovi（邦喬飛）世界金曲〈You Give Love a Bad Name〉的「親生前身」。兩首歌皆出自金牌製作人 Desmond Child 之手。當時這首原作在美國並未大紅，不甘心旋律被埋沒的製作人，隨後將副歌原封不動地重新譜寫並交給 Bon Jovi，進而誕生了橫掃全球的告示牌冠軍作。儘管在美國成了遺珠，但這首歌憑藉澎湃的歌劇式編曲、強烈的女性意識歌詞，搭配 Bonnie Tyler 極具爆發力的招牌煙嗓，依然在歐洲市場大獲成功，成為樂迷心中的搖滾經典。

於 2013 年代表英國到瑞典參加「歐洲歌唱大賽」（Eurovision Song Contest），演唱曲目〈Believe in Me〉。同樣由 Desmond Child 創作，這是兩人在將近 30 年後再度為聯手，別具意義。

個人生活方面，她在 1973 年與奧運柔道運動員兼地產富商 Robert Sullivan 結婚，兩人攜手走過 50 多年婚姻，始終恩愛如初。在 2023 年獲頒英國王室的 MBE 勳銜（大英帝國員佐勳章），以表揚她對音樂及娛樂界的終身貢獻。

Bonnie Tyler 於 2026 年 7 月 8 日傍晚在葡萄牙的一家醫院不幸因病過世，享壽 75 歲。她的家人與團隊證實，她是在接受疾病治療期間「出乎意料地」在醫院離世。在此之前的 2026 年 5 月，她曾因緊急腸道手術住進葡萄牙法魯的醫院，並一度接受誘導昏迷以利復原，未料最終仍不敵病魔。

她的死訊震驚了全球樂壇與無數歌迷，英國首相 Keir Starmer 公開哀悼，稱她是「英國最偉大的錄音室歌手之一與標誌性人物」；與她有遠親及多年好友關係的奧斯卡影星 Catherine Zeta-Jones 也痛心表示自己「心碎了」，形容她是擁有無敵唱功的非凡女性。

不老的搖滾精神，她的一生都在舞台上度過，直到晚年仍持續在歐洲各地巡迴演出。她曾向媒體說過，自己永遠不會唱膩那些經典作品：「我熱愛唱這些歌，因為所有人一聽到都忍不住跟著大合唱！」

RIP 永遠的鐵肺歌后 Bonnie Tyler!

Alesso 與 OneRepublic 聯手推出全新單曲〈In Your Eyes〉，再次展現前衛浩室魅力！

2026-07-09T04:41:48.202+08:00

瑞典 DJ Alesso 與 OneRepublic 聯手推出 2026 年全新單曲〈In Your Eyes〉，這是 Alesso 與 OneRepublic 主唱 Ryan Tedder 繼〈Calling (Lose My Mind)〉、〈If I Lose Myself〉和〈Scars〉相隔十幾年再度合作，展現前衛浩室的魅力。Tedder 一貫充滿共鳴的人聲感染力，加上 Alesso 賦予振奮激昂的編曲製作，帶領大家重回 2010 年代的流行電音抒情，一起感受愛的力量。

Lyrics & Translation 歌詞：(by 好青年中譯)

Written by Ryan Tedder, Philp John Plested, Ben Johnson, Grant Joseph Boutin and Alessandro Rodolfo Renato Lindblad

[Verse: ]

Every time you take me down

每次當你帶我沉淪

It's like a deeper dive

就像是趟深海潛泳

I turn around, I'm on the other side

當轉過身，我已抵達彼岸

You help me find my faith

是你幫我重新找回了信念

[Pre-Chorus: ]

Highs and lows

無論人生的高潮或低谷

I've lived them all, you never let me go

我皆已歷盡，而你從未放開我

Yeah, life without you is one I'll never know

是啊，無法想像沒有你的生活

You're my hideaway

你就是我的避風港

#https://www.musicmaniactw.com

[Chorus: ]

In your eyes

在你的眼中

The only love I know

我唯一的愛

In your eyes

在你的眼中

I'm always coming home

我總能找到回家的路

And I ain't going anywhere

而我哪兒也不會去

Only you can take me there

只有你能帶我前往

In your eyes

在你的眼中

I'm always coming home

我總能找到回家的路

#https://www.musicmaniactw.com

I'm always coming home

我總能回到家的港灣

[Verse]

[Pre-Chorus]

[Chorus]

[Outro: ]

I'm always coming

我一直在路上

I'm always coming home

我總能找到回家的路

I'm always coming home

我總能回到家的港灣

I'm always coming home

家是我永遠的歸宿

小宇宋念宇 Xiao Yu〈我還有個夢 Still Dreaming〉

2026-07-04T06:45:00.000+08:00

做了個夢　醒來記不清了

有時錯過　也是一種獲得

積累遺憾提醒我還活著

繼續做　下個夢　終其一生

小宇宋念宇

2026 全新音樂創作

首發坦然開場曲〈我還有個夢〉

全能音樂人小宇宋念宇繼加盟索尼音樂，去年 2025 第一首曝光單曲〈學舌鳥〉後，在各大社群與排行榜皆創下許多現象級的反饋；如今睽違五年，終於在 2026 的夏天，小宇將發行全新個人創作專輯。〈我還有個夢〉作為專輯的開場白，揭示整張專輯的脈絡，圍繞著「遺憾」為主體進行抒發，表達那些曾經存在過的、沒能完整的、以為已經放下的人事物，小宇則透露這樣的呈現與好友離世帶來的衝擊有關，這件事對他的影響不只有情感上的錯愕與難過，更讓他重新思考：既然還能夠創作、還有聽眾支持，那為什麼不更誠實地做自己現在想做的音樂？

小宇作為〈我還有個夢〉的作曲兼製作人，為了不讓音樂作品過度主觀，請到了曾多次合作的金曲混音師黃文萱，透過她的音樂美學在混音中融入不同的聲響觀點、誕生驚喜，更放大了小宇演唱中的從容、鬆弛感，彷彿聽著歌者細數人生閱歷，由惆悵轉為釋然的過程。

陳漢典飾演直播主 MV 大秀演技與舞技

MV 由父子情切入延伸長照議題引人動容

〈我還有個夢〉MV 邀請導演 Austin Liu 劉晉維執導，將生活感與電影鏡頭語彙融合，創造高戲劇張力的影像作品。在團隊討論初期便決定 MV 要以敘事方式傳達小人物的故事，從父子間的親情切入並延伸長照議題，畫面雖在拍攝日常，卻著重在傳達兩人「未完成的人生」。MV 團隊希望找到一位在鏡頭前討喜、能輕鬆讓觀眾投射並貼合生活感軸心的主演，眾人竟不約而同想到了綜藝小天王陳漢典。陳漢典看完腳本後便一口答應，在 MV 中飾演照顧久病父親的帶貨直播主，前一秒還在賣笑，下一秒又透露出對生活的無力感，呈現巨大的反差也展現出精湛演繹實力。MV 中更讓陳漢典配合著歌曲帶來一大段即興舞蹈，他將複雜的心境用肢體語言表述，具象化了角色被生活推著走、卻還不放棄做夢，就算走得慢一些也不能敗下陣來的決心。

小宇宋念宇即將發行的全新創作專輯，在首發歌曲〈我還有個夢〉呈現一別以往的音樂狀態，邀請聽眾開始試著放慢腳步，給自己一點時間與空間，在音樂之中細數自身的矛盾，與自己對話，承認遺憾、與之共存，試著成為更坦然的我們。

Lyrics 歌詞：

作詞/ 李玟萱

作曲、編曲、製作、合聲/ 宋念宇

吉他/ 江鎮宇

混音/ 黃文萱

遠方的歡呼　舉起香檳杯

我獨坐得分之前的殘壘

有人喊單飛　我還沒高飛

被看見　曇花一現　像幻覺

不離開　看似勇敢

原地　最為難

放不下的夢　放不下的夢　一邊懷疑一邊追

還記得當年　單純的少年　從不跟自己妥協

差那麼一點　就那麼一點　說不在乎是欺騙

掌聲變無聲　沒機會感謝　辜負身邊某個誰

路走到一半　前進或後退

甘⼼嗎　問了不只　一百遍

享受在每個起伏的細節

就忘了　低潮來襲　的肆虐

風吹散　負面塵埃

誠實　很痛快

我還有個夢　我還有個夢　一邊懷疑一邊追

就算到今天　熱血轉熱淚　不願跟自己違約

差那麼一點　就那麼一點　說不在乎是欺騙

還能有感覺　就值得感謝　珍惜身邊某個誰

（一邊懷疑⋯⋯ 一邊追）

（說不在乎⋯⋯ 是欺騙）

把每個問號　磨成驚嘆號

未來啊　笑笑以對　走多遠　我奉陪

【專訪】全新專輯《1997》與倫敦現場實錄，雲端司機 aka 李權哲的魔幻與日常

2026-07-01T09:38:33.864+08:00

最新專輯《1997》封面

中文　|　English

剛結束熱鬧的金曲週末，不妨隨好青年將頻道切換回雲端司機 aka 李權哲的魔幻頻率。

李權哲 Jerry Li 是台灣當代極具才華的音樂製作人、樂手、詞曲創作者兼歌手，受 The Beatles 的音樂啟發，開始嘗試寫歌。從臥室出發，由滾石唱片代理，2017 年憑藉個人首張全創作專輯《醒著不醉》入圍第 29 屆金曲獎最佳新人獎，音樂風格融合了復古的搖滾、放克、藍調、靈魂樂與 R&B 等元素。

2018 年以虛擬化身「雲端司機 CLOUDRIVER」發表了《低成本專輯》，一人樂團形式展現出更加搖滾隨性、Lo-Fi、實驗性且帶有強烈幽默感與生活感的音樂美學。2021 年加入顏社，繼續以「雲端司機」名義發行 EP 《SUNNY AFTERNOON》，加入更多合成器的低頻，點起一根菸、開車兜風的舒適浪漫；渾然天成的自由敘事，同年底以第二張個人專輯《愛情一陣風》，榮獲第 33 屆金曲獎最佳專輯製作人獎以及第 13 屆金音創作獎最佳專輯獎，愛音樂是一輩子的事。

2023 年跨界影視，為台劇《人選之人—造浪者》片尾曲〈得意的一天 A no is a no〉編曲，拿下第 58 屆金鐘獎戲劇原創歌曲獎。此外，李權哲還身兼露波合唱團的樂手與製作人，跳脫框架注入多元樣貌。無論是以本名活動還是化身為雲端司機，他都以獨特的慵懶唱腔與優異的編曲、製作能力，不斷地展現新的可能性，在華語樂壇中獨樹一格。

《These Days》EP 封面

暌違五年，「雲端司機」再度上路，今年一月底發行 EP《These Days》，溫柔袒露初為人父的細緻與脆弱；六月初更帶著這份浪漫跨越洋流，站在倫敦 Troxy 的舞台上，在異地的空氣與觀眾來了一場最赤裸的音樂對決。6/17 隨即帶著全新專輯《1997》強勢回歸，專輯名稱剛好是他的出生年，收錄 9 首歌曲，與王昱辰（老王）共同製作，孵化精修了整整三年，再度將聽眾捲入他標誌性的黑樂律動與英倫迷幻中。

除了個人創作，身為製作人的他，今年同樣交出亮眼的幕後成績單。幫馬念先製作充滿都會雅痞的新作《櫻桃可樂的滋味》，更一手操刀今年第 37 屆金曲獎最佳新人陳嫺靜大放異彩的《如果每天都可以 happy happy 誰想要sad:)) – 一起去度假》，還有幫同樣入圍新人獎的 JOYCE 就以斯製作甜度爆表的三拍子純愛主打〈靠很近〉，成為幕後具代表性的金曲推手。

從台北錄音室的小鼓聲，到倫敦舞台的黑色地板，再到家務的洗碗與收衣。好青年有幸與雲端司機訪問，分享完整的問答實錄，看他如何用直覺的空耳打破假設，以及快閃英國的真實感覺與探險，聽聽他最赤裸的音樂偏執與生活拉扯：

▮ 你在新專輯《1997》丟出了非常多大膽的音樂假設，像是「Prince 在曼徹斯特出生長大」、「A Tribe Called Quest & The Neptunes 去製作披頭四的《Sgt. Pepper》」。這些瘋狂的英倫與黑樂大碰撞，是怎麼在你的腦海中成形的？這張專輯花了三年打磨，在「編曲和聲音處理」上，你和共同製作人老王（王昱辰）拉扯最久、最大的突破是什麼？

雲端司機：我覺得自己真正喜歡的東西會很自然的變成自己的一部分，而且在寫這些歌的時候我也沒有意識到這些脈絡從何而來，都是後來回想才發覺的。這些歌詞曲都寫得很快，花最久的時間都是在錄音/混音上面。這張專輯很多歌的鼓跟貝斯都是主角，只要他們的質地/聲音有些微改變整首歌的意思也會變（跳不起來）。就好比說在混音時最常被討論的就是小鼓，我總是覺得小鼓不夠大聲，不夠穿透，光是為了這些小鼓我與老王就幾乎花了一年半在錄音室混了超多版本。

陳嫺靜客串 MV

▮ 首波主打〈Sit Down n' Hesitate〉使用了極具東方神秘色彩的西塔琴（Sitar）搭配太空氛圍。可以和我們分享這首歌當初創作的靈感來源嗎？歌詞裡描繪在阿姆斯特丹街頭流轉的虛無畫面，是來自你真實的記憶，還是一場純粹的復古幻想？

雲端司機：〈Sit Down n' Hesitate〉這首歌其實沒有用到西塔琴，而是用了一種 Drone 式的印度樂器叫做 Tanpura 還有印度鼓 Tabla 在最後一段 Outro 堆疊進來，當然還有無數軌的合成器哈哈。這首歌詞其實也沒有任何的意思，完全是照著自己亂哼的 Guide Vocal 空耳填字出來的。不過也因為這樣有很多驚喜，像是裡面有一句我很喜歡的歌詞：「Finest in the Catalogue」。雖然不是很清楚其意圖跟含義，但是我認為他都表達了某一個時期的自己的氣氛。

香港夏日高峰會 Summer Summit 演出

▮ 專輯中的〈Dr. Ricardo〉錄音室版是與 SMY 合作，但許多樂迷對你跟陳嫺靜在現場合作的版本也念念不忘，當初收錄時有過什麼取捨嗎？或者，你可以和我們介紹另一首你個人私心最推、希望大家特別細聽的專輯歌曲？

雲端司機：與 SMY 還有 Piers 一起寫 + 錄這首歌大約是在 2023 年某一天內就完成了。也沒想過要改版。是因為後來與陳嫺靜在香港有一場表演，當時她聽了這首歌就覺得可以一起在現場唱。

我個人覺得每首歌都有它們自己的世界與風格。不過我覺得〈Castaway〉這首歌自己蠻常聽的，很喜歡最後突然出現的 Synth Bass。

▮ 6 月 9 日你剛站在倫敦 Troxy 的大舞台上擔任落日飛車的演出嘉賓。第一次在英國演出，踏上舞台那一刻的身體感覺是什麼？台下的海外觀眾對於你音樂裡的 Funk 律動或中西方元素歌曲，又有什麼樣最直接的反應？

雲端司機：我一直都很喜歡倫敦，還記得十年前第一次去倫敦的時候就覺得走在大街上好像走在自己的地盤，哪裡的節奏跟路上帶電的感覺好像是自己身體莫名奇妙很熟悉的（雖然當時是第一次去，而後來又去了好多次）這次是第一次在這個熟悉的城市上台，還記得當時的燈光是某種慘白，照在舞台被刮花、佈滿線的黑色地板上會有某種反光，讓自己有自己在 1960 年代表演的錯覺。因為燈光都沒有變化，每一首歌演完的時候其實是非常赤裸的對決，若大家喜歡及是最直接的歡呼，好險第一首歌演完就馬上得到了這個反應⋯但若閃過一絲絲心虛或瑕疵，空氣似乎也會停了幾拍。我認為英國一直給我一種”直接”的感覺，不管是逛街時遇到的店員，或是人與人之間相處的細微末節，著讓我覺得與美國/台灣非常不一樣。

▮ 這次的倫敦行，除了站在 Troxy 舞台上演出，有沒有什麼私房的街頭奇遇、逛唱片行挖掘老唱片的收穫，或是這趟英倫的空氣，如何印證了你在台北寫《1997》時的音樂幻想？

雲端司機：這次幾乎是快閃倫敦，逛街的時間跟之前比很少，不過還是發現了一個在 Church Street 的 Alfies Antique Market，它是一棟非常奇幻的大樓，像是穿越不完的迷宮。

▮ 除了個人創作，你同時也常身兼製作人。近期你幫馬念先製作了新專輯，也和陳嫺靜有非常精彩的合作。這兩位音樂人的音樂質地完全不同：一位是充滿城市雅痞、復古浪漫的「馬哥」，另一位則是文字與流動感都極具當代實驗性的嫺靜。可以跟我們分享擔任這兩位音樂人製作人時的幕後故事嗎？面對兩位反差極大的創作人格，你通常是用什麼樣的「秘密配方」去挖掘並調配出屬於他們的音樂頻率？

雲端司機：與馬念先工作他就是會丟一個 Demo 給我，然後我就會自己在錄音室直接開始錄音（通常由鼓開始），等到幾乎整首歌的基本樂器錄完了我才會傳給他聽，雖然非常冒險，但他幾乎都是一聽就跟我說過關，在所有的環節他都非常信任我的決定，給我所有的自由跟主宰權，整張專輯的過程與合作可以說是一氣呵成。陳嫺靜的話是完全相反，我做什麼大小事她都會在旁邊 or 後面全程參與，做她的專輯整個過程就像是在進行一場需要屏氣凝神的手術，兩個戴眼鏡的人盯著手術台細細的拉著縫線的感覺。

▮ 你現在的身份非常多元：是創作歌手、製作人、露波合唱團樂手，同時又有「李權哲」與「雲端司機 CLOUDRIVER」兩個音樂人格。在 1 月底發行的《These Days》EP 裡你展現了初為人父、溫柔袒露脆弱的一面，但隨後的《1997》你又變回在地下俱樂部彈著狂暴吉他的雅痞浪子。在這些截然不同的身份（生活中的父親、音樂裡的浪子、幕後的製作人）之間切換，你會感到拉扯嗎？你如何平衡這些不同的人格？

雲端司機：我不覺得拉扯欸，只能說自己人在哪個甕就做哪個事哈哈。所有的事情裡面我覺得做家事最難平衡，有時候才剛錄完了自己覺得史上最屌的東西，轉個身就要收心去洗碗，收衣服，這個絕對最拉扯。

▮ 最後，可以和我們分享你最近私底下或開車時，都在聽什麼專輯或歌曲嗎？

雲端司機：因爲開長途車程時我會請老婆放歌（比較安全）實在是開啟我的世界與眼界。我非常推薦 Mariah Carey 〈Mine Again〉，林憶蓮〈傷痕〉，Mariah Carey〈Bye Bye〉，Britney Spears〈Mind Your Business〉。

收錄於 2008 年專輯《E=MC²》

《1997》專輯曲目 Tracklist：

01. Sit Down n’ Hesitate

02. Weird Fuzz XXX

03. Castaway

04. Serenade All Day

05. Premier

06. Slick Girls

07. Dr. Ricardo (feat. SMY)

08. Babysitting

09. Casio

實體專輯可於顏社KAO!INC 官網購買：連結

感謝閱讀，若喜歡本篇文章，歡迎推薦分享！

English version 英文版文章：

Just wrapped up a bustling Golden Melody Awards weekend? Let’s switch the channel back to the magical frequency of CLOUDRIVER aka Jerry Li.

Jerry Li is one of the most talented music producers, multi-instrumentalists, songwriters, and singers in Taiwan. Inspired by The Beatles, he began writing songs from his bedroom. Distributed by Rock Records, his 2017 debut fully self-created album Stay Sober earned him a nomination for Best New Artist at the 29th Golden Melody Awards. His musical style seamlessly blends vintage rock, funk, blues, soul, and R&B.

In 2018, adopting the virtual alter ego "CLOUDRIVER," he released Low Budget Album. This one-man band project showcased a more casual, lo-fi, experimental rock aesthetic infused with a strong sense of humor and daily life. Joining the label KAO!INC. in 2021, he continued under the moniker CLOUDRIVER to release the EP SUNNY AFTERNOON, introducing more low-frequency synthesizers—the cozy romance of lighting a cigarette and driving around. With his natural, freewheeling narrative style, his second solo album AI CHING (released at the end of that year) won Best Album Producer at the 33rd Golden Melody Awards and Best Album at the 13th Golden Indie Music Awards. For Jerry, loving music is a lifelong commitment.

In 2023, he crossed over into film and television, arranging the ending theme song 'A no is a no' for the Taiwanese drama Wave Makers and winning Best Original Song for a Drama Series at the 58th Golden Bell Awards. Beyond that, Jerry also plays instruments and acts as producer for The Loophole, constantly breaking boundaries to inject diverse textures into his music. Whether performing under his real name or transforming into CLOUDRIVER, he continues to push new possibilities with his signature lazy vocals and exceptional arranging and producing skills, carving out a completely unique lane in the Mandopop scene.

After a five-year hiatus, "CLOUDRIVER" is back on the road. At the end of this January, he released the EP These Days, tenderly exposing his nuance and vulnerability as a new father. In early June, he carried this romance across the ocean, stepping onto the stage at Troxy in London for a raw, naked musical showdown with foreign air and an unfamiliar audience. On June 17, he made a powerful return with his brand-new album 1997. Named after his birth year, the 9-track album was co-produced with Yuchain Wang and meticulously polished over three full years, once again drawing listeners into his signature black music grooves and British psychedelic vibes.

In addition to his personal creations, Jerry delivered a stellar track record behind the scenes as a producer this year. He produced Ma Nien-hsien’s urban-chic new album Cherry Cola Vibes, masterminded Chen Hsien-ching’s sensational project If we can be happy happy every day, who wants to be sad:)), which swept through the 37th Golden Melody Awards with a Best New Artist win, and also produced the ultra-sweet, triple-meter pure romance track "Close To You" for fellow Best New Artist nominee JOYCE. He has indisputably become one of the most representative hitmakers behind the Golden Melody generation.

From the snare drum hits in a Taipei studio, to the black wooden floors of a London stage, and back to the domestic chores of washing dishes and folding clothes, I had the privilege of interviewing CLOUDRIVER. Here is the full Q&A transcript, revealing how he breaks assumptions with intuitive phonetic writing, his genuine impressions of a flash trip to the UK, and his most naked musical obsession clashing with the pull of everyday life.

Q: You threw out some very bold musical hypotheses in this album, such as "What if Prince was born and raised in Manchester?" or "What if A Tribe Called Quest & The Neptunes produced The Beatles’ Sgt. Pepper?" How did these wild collisions of Brit-rock and black music take shape in your mind? Having spent three years polishing this album, what was the longest struggle and the biggest breakthrough in "arrangement and sound engineering" between you and co-producer Yuchain Wang?

CLOUDRIVER: I feel that the things I truly love naturally become a part of me. When I was writing these songs, I wasn't consciously aware of where these influences were coming from; I only realized it later upon looking back. The songwriting and lyrics came together very quickly; the part that took the longest was the recording and mixing. In this album, the drums and bass are the main characters in many songs. If their texture or tone shifts even slightly, the whole meaning of the song changes (it loses its groove). For instance, during mixing, the snare drum was the most heavily debated topic. I always felt the snare wasn't loud or piercing enough. Just for those snare drums, Wang and I spent nearly a year and a half in the studio mixing countless versions.

Q: The lead single "Sit Down n' Hesitate" features a space-like atmosphere paired with what sounds like a sitar, giving it a very mystical Eastern color. Could you share the inspiration behind this song? The lyrics paint a picture of a hollow, drifting scene on the streets of Amsterdam. Does this stem from a real memory, or is it a piece of pure vintage fantasy?

CLOUDRIVER: "Sit Down n' Hesitate" actually didn't use a sitar. Instead, we used a drone-style Indian instrument called a Tanpura, along with the Indian drum Tabla, which layer into the final outro, along with countless synthesizer tracks, haha. The lyrics actually don’t have any specific meaning; they were filled in purely by copying my own gibberish from the guide vocal by ear. But because of that, there were a lot of surprises. For example, there’s a line I really love: "Finest in the Catalogue." Though the intent and meaning aren't entirely clear, I think it perfectly captures the vibe of who I was during that specific period.

Q: The studio version of "Dr. Ricardo" on the album is a collaboration with SMY, but many fans are still obsessed with the live version you did with Chen Hsien-ching. Were there any dilemmas or trade-offs when choosing which version to include? Alternatively, could you introduce another song from the album that is your personal favorite, the one you hope listeners will pay extra close attention to?

CLOUDRIVER: Writing and recording this song with SMY and Piers took about a single day back in 2023. I never really thought about changing it. It was only later, when Chen Hsien-ching and I had a show together in Hong Kong, that she heard the song and felt we could perform it together live.

Personally, I think every song has its own world and style. However, I find myself listening to "Castaway" quite often. I really love the synth bass that suddenly kicks in at the very end.

Q: On June 9, you stood on the massive stage at Troxy in London as a guest performer for Sunset Rollercoaster. Performing in the UK for the first time, what was the physical sensation the moment you stepped onto that stage? How did the overseas audience react to the funk grooves or the East-meets-West elements in your music?

CLOUDRIVER: I’ve always loved London. I remember my first time visiting ten years ago; walking down the main streets felt like walking in my own backyard. The rhythm of the city and the electric energy on the streets felt bizarrely familiar to my body, even though it was my very first time there, though I’ve been back many times since. This time was my first time performing in this familiar city. I still remember the lighting was this sort of stark, pale white. When it hit the scuffed, wire-laden black floor of the stage, it created a reflection that gave me the illusion of performing in the 1960s. Because the lights didn't change throughout, it felt like a very raw, naked showdown after every single song. If people liked it, the cheers were instant. Thankfully, I got that reaction right after the first song. But if a hint of insecurity or a flaw slipped through, the air felt like it froze for a few beats. I think the UK has always given me a very "direct" vibe, whether it's the shop clerks you encounter while browsing, or the subtle nuances of interpersonal interactions. It feels very different from America or Taiwan.

Q: Aside from performing on the Troxy stage, did this London trip bring any hidden street encounters, crate-digging finds at record stores, or ways in which the British air validated the musical fantasies you wrote back in Taipei for 1997?

CLOUDRIVER: This trip was pretty much a flash visit, so I had much less time to walk around compared to previous trips. However, I did discover Alfies Antique Market on Church Street. It’s a highly surreal building, almost like an endless maze you keep traveling through.

Q: Beyond your personal projects, you frequently work as a producer. Recently, you produced Ma Nien-hsien’s new album and also had a brilliant collaboration with Chen Hsien-ching. These two artists have entirely different musical textures: "Brother Ma" is all about urban-chic and retro romance, while Hsien-ching’s lyricism and flow are deeply experimental and contemporary. Can you share some behind-the-scenes stories from producing for them? Facing two drastically different creative personalities, what is your "secret formula" for uncovering and tuning into their unique musical frequencies?

CLOUDRIVER: Working with Ma Nien-hsien, he usually just throws a demo my way, and then I’ll head into the studio and start recording on my own (usually starting with the drums). Once almost all the basic instrumentation is tracked, I’ll send it to him to listen. Though it sounds risky, he almost always listens and tells me it’s good to go. He completely trusts my decisions across all stages, giving me total freedom and creative control. The process and collaboration for the whole album was incredibly seamless. With Chen Hsien-ching, it’s the exact opposite. No matter how big or small the task, she’s right there beside or behind me, participating the entire time. Making her album felt like performing a surgery that required you to hold your breath. It was like two people wearing glasses, staring down at the operating table, meticulously pulling at the sutures.

Q: You wear many hats right now: singer-songwriter, producer, member of The Loophole, while juggling two musical personas, “Jerry Li" and "CLOUDRIVER." In the These Days EP released at the end of January, you showed a tender, vulnerable side as a new father, but with 1997, you transformed right back into a bohemian dandy shredding a wild guitar in an underground club. Do you ever feel a pull or conflict when switching between these drastically different identities (a father in daily life, a rogue in music, a producer behind the scenes)? How do you balance these various personas?

CLOUDRIVER: I don’t really feel a pull. I guess you could say I just play the part depending on the vessel I'm in, haha. Out of everything, I find doing household chores the hardest to balance. Sometimes I’ll finish recording something that I think is the dopest track in history, but the moment I turn around, I have to snap out of it and go wash dishes or fold clothes. That is definitely where the real pull happens.

Q: Lastly, could you share what albums or songs you’ve been listening to lately in your private time or while driving?

CLOUDRIVER: Because I usually ask my wife to play music when we’re on long drives (it’s safer), it has truly opened up my world and horizons. I highly recommend Mariah Carey’s "Mine Again," Sandy Lam’s "Scars", Mariah Carey’s "Bye Bye," and Britney Spears’ "Mind Your Business."

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中文 English

好青年的音樂清單

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