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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”.

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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

Read more »

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”

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