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成立於台南，由主唱奕達、吉他手文沛與佳祐、鼓手宏易組成的伯爵白，於首張同名專輯《伯爵白》發行四年後，帶著第二張專輯《情人未遂 Situationtrip》回歸。從過往帶有青春氣息的搖滾聲響，到這次更著重情緒刻畫與音樂層次的作品。隨著團員來到台北生活，創作視角也從眷戀台南的青春搖滾，轉向身處城市夜空下的城市搖滾。

《情人未遂》結合 situationship 與 trip，將一段沒有明確定義的關係想像成一趟充滿矛盾與掙扎的旅程。九首歌曲串連起不同階段的情感經歷，描繪人在關係中反覆拉扯、難以放下的心境。對伯爵白而言，這些看似消極的內耗，其實也源自於在乎與不甘心，這份情感也構成了搖滾樂最真實的生命力。

在音樂上，專輯融合 Indie Rock、Britpop、Disco Rock 與迷幻元素，以「越心碎，越要讓人跳舞」為方向，讓失落情緒與律動感並存。製作上邀請林揮斌擔任製作與混音，並由曾參與 Oasis 作品 Remastering 的英國工程師 Andy Baldwin 負責母帶後期處理。

這次專訪，好青年與伯爵白聊聊《情人未遂》的創作起點、歌曲背後的情感，以及四年間的音樂轉變，也談到他們如何將作品中的律動與情緒帶到現場。未遂不代表一切都沒有意義，那些曾經的遺憾與不甘心，都是我們真實活過的痕跡。

11/13《情人未遂 Situationtrip》2026 發片專場

時間｜Open 19:30 / Start 20:00
地點｜SUB LIVE

購票連結：https://ticketplus.com.tw/activity/36b9e6cb247018d125bd165fca4dc279

Q1：距離首張同名專輯已經過了四年。回頭看這段時間，伯爵白在音樂創作、團員之間的合作，以及對樂團的想像上，有哪些改變？這些累積又如何影響了第二張專輯《情人未遂》的誕生？

伯爵白：如果說首張同名專輯《伯爵白》是比較純粹地釋放青春能量，那麼《情人未遂》就更在意情緒的刻畫，以及把故事說完整。無論是大量運用五聲音階的旋律線，或是帶有舞曲感的編曲，我們都更講究音樂流動的方向及層次的堆疊。並希望在保有溫厚聽感的前提下，讓爽感與氛圍融合得更有質感。

伯爵白在四年間大大小小的音樂祭與現場演出後，對於現場能量的傳遞有了更深的體會，也越來越在意音樂的「律動」。此外，這四年大家都在台北生活，歌曲的味道也逐漸從過往眷戀台南的「青春搖滾」，走向身處於城市夜空下的「城市搖滾」的風格。

為了讓聲音既有爆發力，聽起來又舒服，文沛與佳祐這次花了很多時間研究、運用真實音箱與類比器材，調配出遊走在破音邊緣、卻又充滿溫度的吉他音色。這些聲音會隨著彈奏力道改變：稍微用力一點，就會帶出粗獷的破音；輕一點，則回到相對乾淨的 Clean Tone。我們很喜歡這種介於乾淨與失真之間的動態，也希望在吉他搖滾的聲音裡，保有這些細膩的變化。

演唱方面，相較於首張專輯，主唱奕達也在咬字與語氣上加入了更多自己的特色，參考了愛爾蘭樂團 Inhaler，以及大家熟悉的英搖代表 Oasis。透過更強烈的咬字與口氣，讓人聲除了唱出旋律，也能帶出樂團的個性。合聲的部分，則特別邀請第一張專輯合作過的 Control T 妮蓁，再次為人聲層次加入不少空氣感。

最後，金曲製作人「阿斌叔叔」林揮斌，也帶著過去製作 Tizzy Bac 怕胖團等樂團的經驗，在製作與混音層面，為每首歌注入歐陸搖滾獨特的態度與韻味。母帶後期處理則交由曾操刀 Oasis 作品 Remastering 的英國工程師 Andy Baldwin 負責，讓《情人未遂》整體聽起來更有自己的樣子。

Q2：這次專輯以《情人未遂 Situationtrip》為名，結合了 situationship 與 trip，將一段沒有明確定義、也未必有正式開始與結束的關係，想像成一趟旅程。當初是如何找到這個主題的？為什麼選擇以這樣的關係狀態，作為整張專輯的創作核心？

伯爵白：《情人未遂》可以說是一個青年來到台北後，所掉入的情感黑洞。對伯爵白來說，生活始終是創作的核心，因此專輯主題並非刻意設計，而是在各種心境累積之下，自然而然形成的結果。

從〈少年的糾結〉的玩世不恭，到〈You Can Have My Soul〉的無論如何我愛你，《情人未遂》所描繪的感受，對多數人來說或許沒那麼直接，而是不斷遊走於「你到底愛不愛我？」、「我是否要放下你？」的矛盾之中。但這些看似圍繞著愛情的糾結，其實更是一場自我內在的對抗。

這樣的內耗雖然看似消極，卻也正因為在乎、不甘心，才會愛得如此奮不顧身，恰恰展現了一個人在感情裡反覆掙扎的「生命力」。對伯爵白來說，「生命力」是搖滾樂的根，而這些真實的感受，最終成為了《情人未遂》的核心。

跳脫愛情來看，生命中還有許多事情會留下遺憾，讓人感到後悔與不甘。這或許與社會上常見的「小孩才 emo」、「人要向前看」等正向價值觀有所衝突，但這些情緒，其實都是一個人活著的真實展現。因此，我們鼓勵大家擁抱自己的 emo，也希望這張專輯能陪伴那些在成長過程中遭遇挫折、陷入內耗，卻又一時走不出來的人。

Q3：專輯收錄了九首歌曲，從曖昧、沉溺、執迷，到失去與告別，呈現一段關係中的不同情緒。在創作這些歌曲時，你們如何讓各自獨立的故事與情感，逐漸形成《情人未遂》這張專輯的整體樣貌？

伯爵白：老實說，《情人未遂》每首歌所描繪的情境與情緒順序，其實與歌曲創作的先後並不相符，例如最早寫出的作品是〈我等你 你等我〉，然後〈未遂〉、〈28〉則是在與〈You Can Have My Soul〉同一時段創作的。或許，現實中所經歷的，比起專輯裡的故事還要更加混亂。但在集結所有片段靈感時，我們突然發現，原來這些看似獨立的心境，其實可以串連成一段完整起承轉合的故事。

此外，在安排曲序時，我們也曾陷入兩難。例如將長達六分多鐘的〈你給了我自由〉放在專輯第二首，從行銷角度來看，或許並不是那麼直觀的選擇。但為了不破壞整體故事的完整性，我們還是堅持讓專輯依循從曖昧、沉溺、執迷，到失去與告別的時序展開。

Q4：先行曲〈水〉以水沒有固定形狀的特性，比喻難以定義的感情，也延續了樂團帶有迷幻色彩的英倫搖滾聲響。當初是如何想到以「水」作為切入點？在音樂編曲上，又如何將這種流動、難以捉摸的情緒轉化成歌曲的聲音？

伯爵白：「水」是一個優美卻又千變萬化的物質。當你本來以為自己了解對方，卻突然發現你其實不是很懂。原先暈得要命，現在愈謎愈暈⋯⋯覺得對方真的是有夠「水」。那麼把對方形容成「水」，自然而然有一種很難捉摸、非常生動的感覺，很有生命力。

開頭一顆一顆的頑固合成器，恰恰對應了化學式 H₂O 的分子意象。而滿滿空間系的吉他聲響，營造了沉在水裡的幻覺。在第二次主歌的音樂編排也與歌詞「一波一波浪洶湧」相互呼應，運用了雷鬼的節奏型態，帶出海浪在拍打的意象。

Q5：《情人未遂》有一個很鮮明的方向，就是「越心碎，越要讓人跳舞」。專輯融合 Indie Rock、Britpop、Disco Rock 與迷幻元素，讓失落的情緒與具有 Groove 的節奏並存。這次在聲音上的嘗試，是如何形成的？希望聽眾在聆聽時，有什麼樣的感受？

奕達：耳尖的聽眾或許會發現，《情人未遂》中的搖滾曲目呈現出較為「Lay Back」的節奏感，其中又以〈未遂〉最為明顯。不同於傳統搖滾樂強調衝刺與前進感的既定印象，這張專輯建立在鼓手宏易對節奏細膩掌握的基礎上，透過微妙的拉扯與搖擺，創造出一種彷彿刻意拖延、卻又持續推進的糾結。一首歌的長度或許只有三、四分鐘，但伯爵白希望透過律動的設計，讓聽眾無論是在耳機裡，還是演出現場，都能感受到與眾不同的「時間感」。

文沛：買了喜歡的類比玩具們然後在錄音的時候享受真實音箱帶來的樂趣，在過程中也因為這些新玩具而有一些新的想法跑出來。每個人對於同一首歌曲的感受不同，無論如何，大家一起進到我們的歌裡面吧！

佳祐：隨著這幾年吸收了更多不一樣的音樂類型，讓我想在樂器面上嘗試一些上一張專輯沒用過的樂句和編曲手法，希望聽眾能從這些細節中，聽見我們這幾年在心境與音樂上的成長與蛻變。

宏易：這次我在歌曲裡對於「鼓」、「律動」、「樂團互動」的 approach，主要著重在空間的分配。像是〈未遂〉的主歌，我的鼓只打「懂滋大滋」，不過律動的緊湊程度就交由吉他等其他樂器來處理；又像〈My Darling〉的副歌，其實只是 disco beat，不過我們透過正反拍的切換，來製造舞曲強烈的律動感。且每首歌的「懂滋大滋」，其實都落在節拍器不同的相對位置，有些 rush、有些 laid-back，這些都是經過討論後安排的。希望能從一些細微的變化來塑造聽感上的層次。

Q6：從開場曲〈未遂〉中只差一句話的曖昧，到〈The Galaxy〉將逝去的關係延伸至時間與宇宙的尺度，再到最終曲〈Dear Friend〉逐漸走向釋懷。這樣的情感推進是有意識的安排嗎？尤其最後選擇以〈Dear Friend〉收尾，希望為這趟旅程留下什麼樣的心情？

伯爵白：選擇以〈Dear Friend〉收尾，是因為在完成初步曲序後，總覺得這段旅程還缺少一個結尾。剛好在那個階段，奕達也正在思考「道別」這件事：離開原有的工作、搬家、親人過世、友誼淡掉了，甚至抽象到忘掉一個感覺，都是人生會遇到的課題。我們要怎麼以溫柔的心態面對，讓它雖然存在心中，卻不再牽動我們呢？

雖然現在回頭看〈Dear Friend〉，顯得有點過於溫柔，甚至卑微。但或許這也是我們在不解、難過之後，慢慢以更宏觀的角度，去看淡這些未遂之事的階段之一。簡單來說就是 Chill 一點！？

Q7：這張專輯從創作、編曲到錄製，經歷了四年的時間。期間有沒有哪首歌特別難以完成，或是曾經歷過與最初構想截然不同的改變？

奕達：〈你給了我自由〉是整張專輯中，創作與製作過程最痛苦的一首歌。自 2023 年有了雛形以來，歌詞隨著我與對象的關係反覆修改，少說也有十版以上。創作的過程，也不斷受到對方漸行漸遠的影響，我就在一邊檢討過去做錯了什麼一邊回憶的情緒下，誠實地、小心地把這首歌完成。從原先相當煽情的表達，到最後比較「溺」的意象，每個版本依序記錄了我在歌詞創作上從較為粗糙轉向內斂的過程。

演唱必須在溫柔的氛圍中將張力撐起，旋律又要高不高的，特別難掌握。不過，最後有幸邀請唱功精湛的阿橘一起詮釋，碰撞出了別有一番風味的火花。而新的能量進到作品，也帶我離開了創作內耗狀態，算是一個暖心的結局！感謝阿橘！

文沛：你給了我自由是一首我覺得在情緒上改變很多的歌曲，雖然整體架構基本上是沒有大改動，但在樂器的音色與處理上從 Demo 比較暗色系的感覺到後來像是一場夏天午後雷陣雨結束後，空氣裡依然潮濕，陽光漸漸從雲層中露出，金色的光線染黃了城市，氣溫略降了一些，河岸邊人們踩過水窪繼續向前。

佳祐：對我來說是〈悔 Obito〉這首歌，主要原因是它使用了少見的 432Hz 標準音特殊調弦，跟我們平時聆聽或編寫樂器的習慣不太一樣，再加上整首歌的 Groove 也較爲非典型，兩點疊加起來，讓後續錄音時的難度提高了不少。

宏易：其實〈我等你 你等我〉的主歌、副歌、outro 的速度都不一樣，而且每段都是直接變速，沒有段落銜接。導致我練習跟錄音要學會自動變速，很難弄，要一直練到變成肌肉記憶。另外其實〈Dear Friend〉最早有個版本是我最喜歡的，但可惜了，你們是聽不到的。

Q8：從首張專輯到《情人未遂》，伯爵白逐漸建立起自己的浪漫搖滾風格，也在這次作品中展現更鮮明的聲音個性。經過這張專輯的製作與發行，你們目前對伯爵白的音樂方向有什麼新的想像？接下來還有哪些想嘗試、但尚未實現的音樂可能性？

伯爵白：歌詞題材層面可能會以退到更後面的角度去看待事情本身，寫出更廣闊、情感傳達更精準的作品。音樂層面可以再往更大膽的方向嘗試：節奏型態與旋律搭配的設計可以更加新穎；也想研究 Sound Saturation，並發揮更多聲響效果上的創意。

同時，一定要致力於在現場展現足以撐起情緒的表現。我們相信搖滾樂者的靈感除了來自生活，很大一部分也來自聽眾給予的能量與回饋。所以，怎麼讓粉絲在現場更融入音樂，是我們正在努力的方向。當這些能量回到創作裡，相信我們的作品也會愈來愈動人。

Q9：11 月 13 日，伯爵白將在台北 SUB LIVE 舉辦《情人未遂》發片專場。在演出安排上，是否有特別想呈現的內容，或是期待觀眾感受到的部分？有什麼話想對來到現場的樂迷說的？

奕達：這次我將會演奏合成器並使用木吉他自彈自唱，這是過去的演出較少出現過的配置，大家想看到不一樣的奕達，感受更強烈的情緒及層次，那就一定得來呦！

文沛：我第一次帶了音箱/麥克風/麥克風前級去現場演出，希望讓大家感受到吉他轟轟轟很震撼飽滿的聲音。音控老師：這是把錄音室搬到台上了。很好玩，希望你們也喜歡。

佳祐：這次專場在樂器彈奏手法與音色選用上會與專輯版有所不同，是專屬這場演出的『現場特調』，希望來到 SUB LIVE 的樂迷，在享受律動之餘，也能留意到我們藏在細節裡的巧思。

宏易：這次的 sound 會很棒，歡迎大家來親耳經歷！

Q10：最後想請團員各自推薦近期喜歡、或是對自己有特殊意義的歌曲，也歡迎分享推薦的原因，以及這首歌帶給你們的感受。

奕達：近期狂聽 Eagles 的〈I Can't Tell You Why〉，滿有可能是專輯製作時期一直追求聲音的亮度與刺激度，專輯完成後反而品味鐘擺回到對低頻的迷戀，聽完這首歌後會發現，其他歌根本沒有低頻哈哈哈。喔對！這首歌無論是詞曲、唱腔，還是樂器，都太「騷」了。

文沛：近期很喜歡落日飛車《QUIT QUIETLY》這張專輯，最常聽的應該是〈Humor Tumor〉這首歌，整首歌輕輕的，六月在冰島時經常重複播放這張專輯，配著冰島午夜的夕陽，深吸一口冷冽的空氣，想著人類是如此渺小，大自然是如此不可思議，有一天我們也會化成一片風景的吧。

我在面對難題的時候通常會不自覺開一些玩笑，跟歌曲一樣帶著黑色幽默。

佳祐：我推薦魚韻的〈怪獸〉，這首歌的編曲極具爆發力與層次，堪稱近期的代表作。它將動畫《地。-關於地球的運動-》中那種『為了傳承知識而捨身取義』的壯烈情感，轉化為極具張力的巨大聲響，聽覺與情緒上的渲染力都非常驚人。

宏易：黃瑞豐的《潮》這張專輯裡的 〈細川行流〉

這張專輯是由鍾興民老師幫黃瑞豐老師作曲編曲的爵士鼓演奏專輯。裡面包含了兩位老師對於台灣本土文化的意識和情感，細膩又大方，用最優雅的方式接地氣。

這首歌我已經聽了不知道幾次，每次都會被編曲內容和黃瑞豐老師的律動，還有對於爵士鼓這樂器的熱情所感動，我想永遠不退的潮流就是自己真心熱愛的那件事吧。

我也想用最愛的樂器為自己生長的土地創造聲響！

[Interview] earl blanc: Embracing Heartbreak and Uncertainty, Keeping the Spirit of Rock Alive

Formed in Tainan, Taiwan, earl blanc consists of lead vocalist Pita, guitarists Allen and Peter, and drummer Caesar. Four years after releasing their self-titled debut album, earl blanc, the band return with their second full-length record, Situationtrip. Moving beyond the youthful energy of their earlier rock sound, the new album places greater emphasis on emotional expression and musical depth. Having since relocated to Taipei, the band have also seen their creative perspective shift from the nostalgic “youthful rock” associated with Tainan to a more urban sound shaped by life beneath the city’s night sky.

The title Situationtrip combines the words “situationship” and “trip”, imagining an undefined relationship as a journey filled with contradictions and emotional turmoil. Across its nine tracks, the album brings together different stages of emotional experience, capturing the inner conflict and difficulty of letting go that often accompany relationships. For earl blanc, what may appear to be unproductive emotional turmoil is, in fact, rooted in caring deeply and refusing to give up. It is this intensity of feeling that forms the most authentic expression of rock’s vitality.

Musically, the album blends Indie Rock, Britpop, Disco Rock and psychedelic elements, guided by the idea that “the more heartbroken you are, the more you should make people dance”. Feelings of loss coexist with infectious grooves and danceable rhythms. From guitar tones and the use of analogue equipment to drum arrangements and vocal delivery, the band have explored new possibilities in the finer details of their sound. The album was produced and mixed by Bean, while mastering was handled by British engineer Andy Baldwin, who has worked on remastering work for Oasis.

In this interview, earl blanc shared with us about the origins of Situationtrip, the emotions behind its songs, and the musical changes the band have undergone over the past four years. We also discuss how they bring the album’s rhythms and emotions to the stage. Perhaps an unfinished story does not mean it was meaningless; the regrets and unresolved feelings we carry are also reminders that we have truly lived.


Q1: Four years have passed since the release of your self-titled debut album. Looking back, how have earl blanc evolved in terms of songwriting, collaboration between band members, and your vision for the band? How have these experiences shaped the making of your second album, Situationtrip?

earl blanc: If our self-titled debut album was about expressing the pure energy of youth, then Situationtrip is more concerned with emotional nuance and telling a complete story. Whether through the extensive use of pentatonic melodic lines or arrangements with a dance-oriented feel, we paid closer attention to the flow of the music and the layering of its different elements. We also wanted to strike a balance between a warm, inviting sound, a sense of impact, and a distinctive atmosphere.

After performing at various music festivals and live shows over the past four years, we have gained a deeper understanding of how to communicate energy on stage, and have become increasingly attentive to groove. Another significant change is that we have all been living in Taipei during this period. As a result, the character of our music has gradually shifted from the “youthful rock” of our earlier work, which was rooted in our nostalgia for Tainan, towards a style of “urban rock” shaped by life beneath the city’s night sky.

To create a sound that feels both powerful and comfortable to listen to, Allen and Peter spent a great deal of time exploring real guitar amplifiers and analogue equipment. They worked on developing guitar tones that sit right on the edge of distortion while retaining a sense of warmth. These tones respond to the intensity of the playing: a little more force brings out a rougher, distorted sound, while a lighter touch brings the tone back towards a cleaner sound. We really like the dynamic range between clean and distorted tones, and wanted to preserve that subtle variation within our guitar-driven sound.

In terms of vocals, compared with the debut album, Pita has developed a more distinctive approach to phrasing and vocal delivery, drawing inspiration from Irish band Inhaler as well as the familiar British rock icons Oasis. With more pronounced articulation and attitude, the vocals do more than carry the melodies; they also convey the band's personality. For the backing vocals, we once again invited Nichen from Control T, who previously collaborated with us on our first album, to bring additional depth and an airy quality to the vocal arrangements.

Finally, acclaimed producer Bean, also known as “Uncle Bean”, brought his experience working with bands such as Tizzy Bac and PAPUN BAND to the production and mixing process, adding the distinctive attitude and character of European rock to each track. The album was mastered by British engineer Andy Baldwin, who has worked on remastering work for Oasis, giving Situationtrip a sound that feels distinctly its own.


Q2: The title of your new album, Situationtrip, combines “situationship” and “trip”, using the idea of a journey to describe a relationship that has no clear definition and may never have had a proper beginning or ending. How did you arrive at this concept, and why did you choose this particular relationship dynamic as the creative centre of the album?

earl blanc: Situationtrip could be described as the emotional black hole a young person falls into after moving to Taipei. For earl blanc, everyday life has always been at the heart of our creative process. The album's central theme was not something we deliberately set out to design; it emerged naturally from the accumulation of different experiences and emotional states.

From the playful, carefree attitude of “Young Hearts, Wild Struggles” to the unconditional devotion expressed in “You Can Have My Soul”, the feelings explored throughout Situationtrip may not be particularly straightforward. Instead, they constantly move between questions such as, “Do you actually love me?” and “Should I let you go?” Yet these struggles, which appear to revolve around romantic relationships, are ultimately more about an internal battle with oneself.

Although this kind of emotional overthinking may seem negative, it is precisely because we care and are unwilling to give up that we love with such intensity. In a way, this reveals the “vitality” of someone caught in the repeated struggles of a relationship. For us, vitality is at the very root of rock music, and these genuine emotions eventually became the core of Situationtrip.

Looking beyond romantic relationships, there are many things in life that leave us with regrets, making us feel remorseful or unwilling to accept what has happened. This may seem to conflict with the positive messages often heard in society, such as “Only kids get emo” or “You just have to move on”. But these emotions are, in fact, genuine expressions of being alive. We therefore encourage everyone to embrace their own emo moments, and hope this album can accompany those who encounter setbacks while growing up, become trapped in their own thoughts, and find themselves unable to move on just yet.


Q3: The album features nine tracks, tracing a range of emotions within a relationship, from ambiguity and infatuation to obsession, loss and farewell. As you worked on these songs, how did you bring their individual stories and emotions together to form the overall narrative of Situationtrip?

earl blanc: To be honest, the emotional and narrative sequence of the songs on Situationtrip does not correspond to the order in which they were written. For example, the earliest song we wrote was “Dateline”, while “Attempted” and “28” were written around the same time as “You Can Have My Soul”. Perhaps the experiences of real life were even more chaotic than the story told across the album. But when we gathered all these fragments of inspiration together, we suddenly realised that these seemingly independent emotional states could actually be connected to form a complete narrative, with its own beginning, development and resolution.

We also faced some dilemmas when deciding on the track order. For example, placing the more than six-minute-long “Dancing with Your Soul” as the album's second track might not seem like the most immediately accessible choice from a marketing perspective. However, we decided to keep it there because we did not want to compromise the integrity of the overall story. We wanted the album to unfold in a sequence that moves from ambiguity and immersion to obsession, loss and, finally, farewell.


Q4: Your lead single “H₂O” uses the ever-changing nature of water, which has no fixed shape, as a metaphor for a relationship that is difficult to define. It also continues the band's psychedelic take on Britpop-inspired rock. What led you to choose water as the starting point for the song? And how did you translate that fluid, elusive emotional state into its musical arrangement?

earl blanc: Water is a beautiful substance, yet it is constantly changing. You might think you understand someone, only to suddenly realise that you don't really know them at all. At first, you're completely infatuated, but the more mysterious they become, the more bewildered you feel... You might even find yourself thinking, “Why are they so impossible to figure out?” Describing someone as “water” naturally conveys a sense of elusiveness, but also makes them feel vivid and full of life.

The stubborn, note-by-note synth sounds at the beginning of the track correspond to the molecular imagery of the chemical formula H₂O. The spacious, atmospheric guitar sounds create the sensation of being submerged underwater. In the second verse, the arrangement also echoes the lyric “一波一波浪洶湧” (“wave after wave crashing in”), using a reggae-inspired rhythmic pattern to evoke the image of waves rolling ashore.


Q5: One of the album's defining ideas is that “the more heartbroken you are, the more you should make people dance”. Blending Indie Rock, Britpop, Disco Rock and psychedelic elements, the album brings together feelings of loss and infectious grooves. How did these sonic explorations take shape, and what do you hope listeners will experience when listening to the record?

Pita: Listeners with a keen ear may notice that the rock tracks on Situationtrip have a more laid-back rhythmic feel, with “Attempted” being the most obvious example. Rather than following the conventional image of rock music as something that constantly drives forward, this album is built around Hongyi's subtle control of rhythm. Through delicate tension and a sense of swing, we create a feeling of something that seems to deliberately hold back, yet continues to move forward. A song may only last three or four minutes, but through our approach to groove, we hope listeners can experience a distinctive sense of time, whether they are listening through headphones or watching us perform live.

Allen: We bought some analogue toys that we liked, and had fun exploring the sound of real guitar amplifiers during recording. Those new pieces of equipment also sparked some fresh ideas along the way. Everyone experiences the same song differently, but whatever your interpretation, we hope you'll come and immerse yourselves in our music!

Peter: Over the past few years, we have been exposed to a wider range of musical styles. This made me want to experiment with instrumental phrases and arrangement techniques that we hadn't explored on our previous album. I hope listeners can hear our growth and transformation, both musically and emotionally, through these details.

Caesar: My main approach to the drums, groove and interaction between the band members this time has been about the allocation of space. Take the verse of “Attempted”, for example: my drum part is relatively simple, essentially just playing a basic kick-and-snare pattern, while the guitars and other instruments take responsibility for creating the tighter rhythmic feel. In “My Darling”, the chorus is essentially a disco beat, but we switch between the backbeat and upbeat to create a stronger dance groove.

The rhythmic placement of these basic drum patterns also varies in relation to the click track from one song to another. Some parts are played slightly rush ahead of the beat, while others sit laid-back behind it, and these decisions were all discussed and worked out together. We hope these subtle variations can help create more layers in the overall listening experience.


Q6: From the opening track “Attempted”, which captures the ambiguity of a relationship that seems to be just one sentence away from becoming something more, to “The Galaxy”, which expands the loss of a relationship into the vast scales of time and the universe, and finally to “Dear Friend”, which gradually moves towards acceptance, was this emotional progression deliberately planned? In particular, what made you choose “Dear Friend” as the closing track, and what kind of feeling did you want to leave listeners with at the end of this journey?

earl blanc: We chose to close the album with “Dear Friend” because, after putting together the initial track sequence, we felt that the journey was still missing an ending. Around that time, Yida had also been thinking about the idea of saying goodbye. Leaving a job, moving house, the death of a family member, friendships gradually fading away, or even forgetting a particular feeling — these are all things we encounter in life. How can we face them with a gentle state of mind, allowing them to remain in our hearts without continuing to affect us?

Looking back now, “Dear Friend” might seem a little too gentle, perhaps even somewhat humble. But maybe this represents one of the stages we go through after confusion and sadness, when we gradually learn to look at these unfinished matters from a broader perspective and let them go. Put simply, it's about chilling out a little!


Q7: This album took four years to develop, from songwriting and arrangement to recording. Were there any songs that proved particularly difficult to complete, or that underwent significant changes from their original concept?

Pita: “Dancing with Your Soul” was the most painful song on the album to write and produce. It first took shape in 2023, and I revised the lyrics more than ten times as my relationship with the other person continued to change. The writing process was constantly affected by the growing distance between us. I completed the song honestly and carefully, while reflecting on the things I had done wrong and looking back on the past.

The lyrics evolved from a rather melodramatic expression into something more submerged and understated. Each version documents my development as a lyricist, moving from a more raw approach towards a more restrained style of writing.

Vocally, it was particularly challenging to maintain the emotional intensity within such a gentle atmosphere, especially when the melody was neither particularly high nor low. Fortunately, we eventually had the opportunity to invite the incredibly talented A-Ju to sing on the track, which brought about an entirely different kind of chemistry. Having this new energy enter the song also helped me move away from the cycle of emotional overthinking. In a way, it became a heartwarming ending to the process. Thank you, Ahh G!

Allen: I feel that “Dancing with Your Soul” underwent a significant emotional transformation. Although its overall structure remained largely unchanged, the instrumental tones and production evolved considerably. The original demo had a much darker atmosphere, whereas the final version brings to mind the moment after a summer afternoon thunderstorm: the air is still damp, but sunlight gradually emerges from behind the clouds, casting a golden glow over the city. The temperature has dropped slightly, and people continue walking along the riverside, stepping through puddles as they go.

Peter: For me, it was “Obito”. The main challenge was its unusual tuning, using a 432 Hz reference pitch and a special tuning that felt quite unfamiliar compared with the way we normally listen to or write music for our instruments. On top of that, the groove of the entire song is rather unconventional. The combination of these two factors made the recording process considerably more challenging.

Caesar: Actually, the verses, choruses and outro of “Dateline” all have different tempos, and each section changes tempo directly without any transition. This meant I had to learn to adjust the tempo automatically while practising and recording. It was quite difficult, and required a lot of repetition until the changes became muscle memory.

There was also an earlier version of “Dear Friend” that I personally liked the most, but unfortunately, you won't get to hear it!


Q8: From your debut album to Situationtrip, earl blanc have gradually established a romantic rock sound of your own, while this latest record reveals an even more distinctive musical identity. Having gone through the process of making and releasing this album, how do you envision the band's musical direction moving forward? Are there any musical possibilities you would still like to explore?

earl blanc: In terms of lyrics, we may take a step further back and look at things from a broader perspective, aiming to create work that conveys emotions with greater precision and a wider outlook. Musically, we want to be even more daring. We would like to explore more unconventional combinations of rhythmic patterns and melodies, experiment with sound saturation, and find more creative ways to use sound effects.

At the same time, we will continue working towards live performances that can fully support and convey the emotions in our music. We believe that inspiration for rock musicians comes not only from everyday life, but also to a great extent from the energy and feedback we receive from our audiences. Finding ways to help fans become more immersed in the music at our shows is something we are actively working on. When that energy feeds back into our creative process, we believe our music will become even more moving.


Q9: On 13 November, earl blanc will hold a release show for Situationtrip at SUB LIVE in Taipei. Is there anything in particular you would like to present during the performance, or anything you hope the audience will experience? Is there a message you would like to share with the fans coming to the show?

Pita: This time, I'll be playing synthesiser and performing with an acoustic guitar while singing. It's a setup that has rarely featured in our previous shows. If you'd like to see a different side of Pita and experience a more intense range of emotions and musical layers, then you definitely have to come!

Allen: For the first time, I'm bringing my amplifier, microphone and microphone preamp to a live show. I hope everyone can experience a powerful, full-bodied guitar sound. Our sound engineer joked, “You're bringing the entire recording studio onto the stage!” It's been a lot of fun, and I hope you enjoy it too.

Peter: The instrumental techniques and tones we'll be using at this show will be different from those on the album. Think of it as a special live arrangement made exclusively for this performance. I hope everyone coming to SUB LIVE can enjoy the groove while also paying attention to the little details we've worked into the music.

Caesar: The sound is going to be great, so come and experience it for yourselves!


Q10: Finally, we'd like each band member to recommend a song you've been enjoying recently, or one that holds a special meaning for you. We'd also love to hear why you chose it and what the song means to you.

Pita: I've been listening to Eagles' “I Can't Tell You Why” a lot recently. It might be because, during the production of our album, I was constantly chasing brightness and sonic intensity. Once the album was finished, the pendulum of my taste swung back towards an obsession with low frequencies. After listening to this song, you realise that practically every other song has no bass at all! Haha. Oh, and the song is just so sexy, from the songwriting and vocals to the instrumentation.

Allen: I've been really enjoying Sunset Rollercoaster's album QUIT QUIETLY, especially “Humor Tumor”. It's such a gentle, understated song. I listened to the album on repeat quite often when I was in Iceland in June. With the midnight sun in the background, I would take a deep breath of the crisp, cold air and think about how small we humans are, and how incredible nature is. Perhaps one day, we'll become part of the landscape ourselves.

When I'm faced with difficulties, I tend to make jokes without even realising it. I think there's a sense of dark humour in the song that resonates with me.

Peter: I'd recommend “Kaiju” by Japanese band Sakanaction. Its arrangement is incredibly explosive and layered, and I think it's one of their defining works in recent years. The song takes the powerful emotion of the anime Orb: On the Movements of the Earth, the willingness to sacrifice oneself in order to pass knowledge on to future generations that transforms it into an enormous, dynamic sound. Its impact, both musically and emotionally, is remarkable.

Caesar: I'd recommend “Hosokawa” from CHÁO, an album by Taiwanese drummer Rich Huang.

The album is a jazz drumming record composed and arranged by Baby Chung for Rich Huang. It brings together both musicians' awareness of and emotional connection to Taiwanese local culture. The result is delicate yet expansive, finding an elegant way to remain deeply rooted in the local spirit.

I've listened to this track countless times, and I'm always moved by its arrangement, Huang's groove, and his passion for the drums. I think the one thing that will never go out of style is doing something you genuinely love. I also hope to use the instrument I love most to create sounds for the land where I grew up!

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台灣新生代創作歌手 LAWA，從生活經驗與腦海中的畫面汲取靈感，音樂與電影也是她重要的養分，逐漸形成自己的創作特色。

歷時近兩年製作，全新專輯《活著的副作用》以時間為主軸，將不同階段的生活經歷與情感串連起來，透過十首歌曲呈現這段時間的生活與思考。從歌曲安排到整體製作，專輯也保留了 LAWA 對聲音細節的想法與堅持。

這次專訪，好青年與 LAWA 聊聊《活著的副作用》的創作起點、歌曲背後的靈感，以及專輯在錄音與製作上的嘗試，也談到一路走來對音樂、生活與創作的看法。

Q1：《活著的副作用》歷時快兩年完成，這段時間裡，妳一邊經歷生活的變化，一邊持續創作。假如把最初開始製作這張專輯的自己，和現在完成作品的自己放在一起，妳覺得兩者之間最大的差異是什麼？

LAWA：我覺得最大的差異，是我開始接受生命裡有很多事情是沒有答案的。

剛開始製作這張專輯的時候，我對很多事情都有一種急迫感，急著長大、急著理解自己，急著替那些情緒找到一個合理的解釋。以為透過時間，或自己變得足夠成熟，就能夠理解所有曾經發生的事情。

但這兩年經歷了一些失去、關係的變化，也經歷了很多第一次，我覺得成長不一定代表我們能夠解決所有問題，有時候反而是學會與那些無法控制的事情共存。

我以前可能會想盡辦法逃離不好的情緒，但現在開始願意停下來觀察它，誠實的面對並把它紀錄下來。

我想這也是為什麼最後會把專輯取名為《活著的副作用》。痛苦、遺憾、失去，甚至幸福所帶來的不安，都是我們正在深刻活著而產生出的副作用。

Q2：十首歌曲組成一張專輯，除了各自承載的情緒，曲序與歌曲之間的關係也會影響聆聽體驗。當妳安排《活著的副作用》的曲序時，有沒有特別希望聽眾經歷一段怎樣的情緒旅程？如果將它視為一部電影，妳會如何描述它的開場、中段與結尾？

LAWA：我會覺得它是一部關於「時間」的電影。

開場的〈火花〉從失去開始，電影一開始就發生了一件無法挽回的事情，迫使主角重新回頭觀看自己的人生。接著〈願我們能成長為自己想要成為的大人〉、〈Something Went Wrong〉，開始帶領聽眾走進成長的困惑、青春、焦慮，以及對成人世界的想像與幻滅。

到了中段，〈活著的副作用〉、〈青春多美麗〉和〈愛你愛我愛他〉，則像是主角逐漸走進自己的內心，直視童年記憶、愛情裡的矛盾，和那些看似美麗卻未必美好的經歷。

後半段的〈聖誕不快樂〉與〈別叫醒我〉，我覺得是一種更深層的孤獨與反思。直到〈I Know It’s Time〉，有些事情到了時間就必須學會放手。最後以〈BYE〉作結。

我不奢望這是一部所有問題都得到解答的電影。它比較像是願意與過去的自己和解。

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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.

Read more »

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

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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.

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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.

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