【專訪】禪波ZENBØ：吹散灰塵之後，重新看見自己
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”
