三首作品從不同角度觸碰成長、界線與自由，也延續她對自身生命經驗的凝視。在創作裡一點一點重新認識自己，也重新理解那些曾經困住我們的東西。
這次再度與蕭賀碩合作，三首歌也在不同聲音與情緒之間展開各自的風景。從迷濛、拉扯，到逐漸鬆開，最後留下的，是一種屬於自己的生命速度。
而當我們談到「自由」時，究竟要先放下什麼，才能真正成為自己？
一起聽邱淑蟬聊聊《無爭》，以及那些關於成長、母親、客語與音樂的故事。
Q1：在介紹〈跼〉時妳說最一開始的用意是：「希望我們永遠不會因為年齡、身份、經歷，而限制了快樂的方法。」妳覺得我們是在什麼時候，開始用這些無形的框架把自己關起來的？妳最近有沒有做過什麼覺得此生無憾的快樂小叛逆？
邱淑蟬：每個人開始有偶包的時期不太一樣，時間點不太確定，但提醒我卸下偶包的契機，是在出社會後遇到的主管，我們會笑他 30 幾歲還很幼稚，他會沾沾自喜地跟我們說：「我心中住了一個 17 歲的青少年」，我很嚮往他那樣的自由自在，成熟智慧和幼稚幽默並存的態度。
八月初去馬來西亞演出，帶了 switch 不過沒多帶搖桿，為了跟大家一起窩在客廳打電動，就在空檔衝去買了搖桿，連續三天無論行程多晚都要打一兩場才睡，我覺得十年過後想起這次的演出回憶，switch 搖桿一定至少排前三，這樣印象深刻的美好回憶竟然只花台幣 2000 塊（還有一點點熬夜的肝）！
還有還有！！因為沒量好電梯尺寸，朋友送的沙發塞不進去，抱著「一起創造難忘的回憶吧」的心情，和男友把 210 cm x 91 cm x 81 cm 的實木沙發搬上 13 樓，心情好後悔又好痛快哈哈哈！
Q2：這張 EP 的創作靈感來自妳寫日記時，突然想到「如果媽媽也寫日記」。在妳動筆寫歌的過程中，有沒有哪一個瞬間，妳突然覺得自己「真正讀懂了媽媽」？
邱淑蟬：我覺得我永遠無法讀懂媽媽。她長在沒有選擇的年代，21 歲結婚、成為母親、扶養四個小孩，而我到 29 歲還能繼續探索自己的心之所向，我們小孩經常拋出「你就做自己啊」，但其實這句話對媽媽沒有意義，如果他知道他自己是誰，他怎麼不會去做呢？所以後來我決定要帶媽媽去「找自己」，去體驗他以前沒機會經歷的事情，ex：去網美咖啡廳（大笑）也許在這個過程中，我也能越來越理解她的束縛和壓抑吧。
Q3：EP 的第二首歌〈扭緪〉描寫的是自我意識萌芽，開始練習重新劃定界線。在現實生活中，說出拒絕往往是最難的一件事。淑蟬自己是在哪一個轉折點，學會了「扭緪」去向外對抗、重新安放自己？
邱淑蟬：出社會以後的成長，很大一部分來自我遇到的人，第一張專輯的製作企劃小隊：小碩、楚芳、啟原，有不足時他們願意和我說真話，並且陪伴我變成更好的模樣，我也在過程慢慢建立了對自己的信心，所以也許不是一個「轉折點」，而是「一段期間」，回頭望時才發現那個不敢與人眼神對視的幼鳥，越來越敢表達自己的聲音。
Q4：這次〈扭緪〉邀請了大象體操鼓手涂嘉欽參與編曲以及鼓的錄製。妳曾提到這是「嘉欽先給一個大概的 beat 妳才開始創作」的「節奏先行」作品。這種被強烈節奏帶領的創作初體驗，有沒有幫妳衝破那些被關起來的想像力？有讓妳在音樂裡變得更「叛逆」一點嗎？
邱淑蟬：我記得隨著嘉欽 demo 寫完這首歌的心情是「痛快」，如果是我自己出發的創作，很難有這麼明確和有力量的動態，所以確實是衝出了自己創作的限制和想像力。
Q5：從〈跼〉的迷濛、〈扭緪〉的拉扯，到〈無爭〉最後走向更開闊的自由。這次在編曲上，你們是怎麼用不同的聲音與樂器，去呈現歌曲各自的情緒與故事？
製作人蕭賀碩：
〈跼〉– 小節線模糊，說話般的人聲 phrasing，交纏的電吉他，從線性的中心軸展開，像光束一般直射，微帶光暈到漸漸放射。最後加入的鼓組用節奏伴著合唱，從迷濛走向開放，是家族一起送走父親的心境。
〈扭緪〉– 節奏組代表父母，電吉他是子女。節奏組相互配合、較量、輔助與未必按照牌理。人聲 humming 帶出歌名。最後的副歌子女大聲說出主張，減慢的鼓組是漸緩的腳步。有個架構在錄音室 jam 出來。
〈無爭〉– 跟 demo 的氛圍不同，淑蟬在老家的自彈自唱裡，我聽到不自覺的憤怒。客語跟中文的「無爭」幾乎是相反的意思，想要把這份反差做在編曲中。希望有一天作為女性生理上的、社會性的、自己給的各種束縛，尤其是媽媽們，都能像電吉他的 riff 一樣，抓住耳朵，活出自己的人生速度，跳自己的 disco，跟與生俱來的開放不一樣，那是經過淬煉跟挫折的勇敢，是能夠同理別人的自由。
Q6：經歷了首張專輯《繭的形狀》所獲得的關注，這次妳再度與蕭賀碩老師合作，兩人在錄音室裡的互動有沒有什麼改變？小碩老師這次有沒有給妳什麼音樂啟發？
邱淑蟬：我和小碩在第一張專輯後就一直保持很緊密的聯繫，很多音樂、成長、情感上的困惑與煩惱，都會想和他討論，所以當《無爭》的創作出來時，我幾乎不需要解釋，他就能理解創作背後的糾結與故事，這讓我們在進錄音室配唱時非常有效率，很快就能接到彼此的球！
Q7：淑蟬自己現在在日常生活中，如果感到被束縛時，妳有什麼專屬的方法可以分享給大家？
邱淑蟬：找個安靜的地方想些快樂的事，例如說我很常幻想，等等，我覺得我們可以說是「思考」，思考自己發票中 1000 萬，扣掉印花稅和所得稅後要怎麼分配，或是要買什麼樣的房子、怎麼裝潢，我相信心想事成這個成語是有力量的。（一臉正經講屁話）（怎麼辦在括弧打字是不是很 LKK）（但我無法控制）（光用想的就好開心）
Q8：音樂給人力量，對妳來說，客語給了妳什麼樣的力量與超能力？
邱淑蟬：在客語創作的過程中發現，原來「美濃」有屬於自己的腔調和用字，隨著和不同腔調的客語創作者交流，才體會到用母語創作已經很不容易，能保留自己家鄉的腔調更令人感動！也許有一天，我們真的再也說不到客語，但至少我用音樂留下了可以考古的聲音和記憶，只要想到這個，我就覺得自己在做一件很值得的事情。
Q9：接下來即將迎來巡迴專場演出，妳最期待在現場與歌迷產生什麼樣的連結？
邱淑蟬：如第一張專輯的願望——希望大家在某些時刻，能被我的創作陪伴到。
Q10：最後，可以分享妳最近重複播放、能讓妳感到自由的幾首私房歌曲嗎？
邱淑蟬：單依純〈我管不住我自己〉、鄭宜農〈人如何學會語言〉、Olivia Dean 〈Man I Need〉
[Interview] Shuchan Chiu on Her New EP Metamorphosing
Letting Go of Constraints, Learning to Live at Her Own Pace
It all began with the thought, “What if my mother kept a diary?” From there, Shuchan Chiu began writing her new EP, Metamorphosing.
Across its three tracks, the EP approaches growth, boundaries and freedom from different perspectives, continuing Chiu’s ongoing reflection on her own experiences. Using music as a way to gradually rediscover herself, and to better understand the things that once held her back.
Reuniting with producer Shuo Hsiao, the three songs unfold through distinct sounds and emotional landscapes. From a sense of uncertainty and tension to gradually letting go, what remains is ultimately a pace of life that belongs entirely to her.
But when we talk about “freedom”, what do we have to let go of before we can truly become ourselves?
Shuchan Chiu shared with us about Metamorphosing, as well as the stories of growth, family, language and music behind the EP.
Q1: When introducing “跼”, you said its original intention was: “I hope we never let age, identity or experience limit the ways we find happiness.” When do you think we start putting these invisible frameworks around ourselves? Have you done anything recently that felt like a small act of rebellion you’ll remember for the rest of your life?
Shuchan Chiu: I think everyone develops their own sense of self-consciousness at a different age, so I’m not sure exactly when it happens. But one person who reminded me to let go of that was a manager I had after entering the workforce. We used to laugh at him for being so childish in his thirties, and he would proudly tell us, “There’s a 17-year-old teenager living inside me.”
I really admired that sense of freedom, the way he could be mature and wise while still being childish and humorous at the same time.
When I went to Malaysia for a performance at the beginning of August, I brought my Switch but didn’t bring an extra controller. I wanted to sit around in the living room and play games with everyone, so during a break in the schedule, I rushed out to buy one. For three days in a row, no matter how late we got back, we had to play one or two rounds before going to bed.
I feel like, ten years from now, when I look back on that performance trip, the Switch controller will definitely be among the top three things I remember. It’s amazing that such a memorable and happy experience only cost NT$2,000, and a little bit of sleep!
And there’s more!! We didn’t measure the elevator properly, so a sofa a friend gave us wouldn’t fit inside. With the attitude of “Let’s create an unforgettable memory together,” my boyfriend and I carried a solid-wood sofa measuring 210 cm × 91 cm × 81 cm all the way up to the 13th floor.
I was so full of regret, but it was also incredibly satisfying. Hahaha!
Q2: The inspiration for this EP came from a thought you had while writing in your diary: “What if my mother kept a diary?” While writing these songs, was there ever a moment when you felt you had truly understood your mother?
Shuchan Chiu: I don’t think I’ll ever truly understand my mother.
She grew up in a time when there weren’t many choices. She got married at 21, became a mother and raised four children. Meanwhile, even at 29, I still have the freedom to explore what I want to do with my life.
We children often tell our parents, “You should just be yourself.” But that sentence doesn’t really mean anything to my mother. If she knew who she was, why wouldn’t she have simply been herself?
So eventually, I decided that I wanted to take my mother on a journey to “find herself”, to experience things she never had the opportunity to experience before, like going to trendy cafés. [laughs]
Maybe through that process, I’ll gradually come to understand her constraints and the things she had to suppress as well.
Q3: The second track, “扭緪”, explores the awakening of self-awareness and the process of learning to redraw your own boundaries. In everyday life, saying no is often one of the hardest things to do. Was there a particular turning point when you learned to “扭緪”, to push back against the outside world and find your own place again?
Shuchan Chiu: A lot of my growth after entering the workforce came from the people I met. The production team behind my first album, Shuo, Chufang and Chiyuan, were willing to tell me the truth whenever they felt I was lacking in some way, and they stayed by my side as I worked towards becoming a better version of myself.
Through that process, I gradually built confidence in myself.
So perhaps it wasn’t one particular “turning point”, but rather “a period of time”. Looking back, I realised that the timid little bird who once couldn’t even make eye contact with people had gradually become more willing to speak up and express her own voice.
Q4: For “扭緪”, you invited Chia-Chin Tu, drummer of Elephant Gym, to contribute to the arrangement and record the drums. You’ve mentioned that it was a “rhythm-first” song, where Chia-Chin first gave you a rough beat before you began writing. Did being led by such a strong rhythmic foundation help you break through some of the limitations you had placed on your imagination? Did it make you a little more “rebellious” in your music?
Shuchan Chiu: I remember finishing the song along with Chia-Chin’s demo and feeling this sense of “痛快”, a kind of exhilarating release.
When I start a song entirely on my own, it’s difficult to create such a clear and powerful sense of movement. So yes, it definitely pushed me beyond the limitations of my own creative process and imagination.
Q5: From the haziness of “跼” and the tension of “扭緪” to the more expansive sense of freedom at the end of “無爭”, how did you use different sounds and instruments in the arrangements to express the emotions and stories of each song?
Producer Shuo Hsiao:
“跼” — The bar lines are blurred, with vocal phrasing that feels almost conversational and intertwined electric guitars. Everything develops from a linear central axis, like a beam of light shooting straight ahead, gradually expanding with a subtle halo around it. The drums that enter towards the end accompany the chorus with rhythm, taking the song from a hazy state towards openness. It reflects the emotional state of a family coming together to see their father off.
“扭緪” — The rhythm section represents the parents, while the electric guitar represents the children. The rhythm section interacts, competes and supports one another, without necessarily following the expected rules. The vocal humming introduces the title of the song. In the final chorus, the children loudly declare their position, while the slowing drums represent their gradually slowing footsteps. The structure emerged naturally through a jam session in the studio.
“無爭” — The atmosphere is quite different from the demo. When I heard Shuchan singing and playing the song by herself at her family home, I could hear an anger that she wasn’t necessarily conscious of.
In Hakka, “無爭” carries almost the opposite meaning from the same phrase in Mandarin, and I wanted to bring that contrast into the arrangement.
I hope that one day, the various forms of constraint placed on women—physical, social, and those we impose upon ourselves—especially for mothers, can be broken. I wanted them to be like the electric-guitar riff: something that catches your ear, allowing you to live at your own pace and dance to your own disco.
Unlike an openness that comes naturally, this is a kind of courage forged through hardship and setbacks. It is a form of freedom that also allows you to empathise with others.
Q6: After the attention your debut album Shape of Life received, you’ve reunited with Shuo Hsiao for this EP. Has anything changed in the way the two of you interact in the studio? Did she give you any particular musical inspiration this time around?
Shuchan Chiu: Shuo and I have stayed very closely connected since my first album. We talk about all kinds of things—music, growth, emotional struggles and the things that worry us—so when the ideas behind No Struggle began to take shape, I barely needed to explain anything. She could already understand the conflicts and stories behind the songs.
That made the vocal recording process incredibly efficient. We could pick up the ball from each other almost immediately!
Q7: When you feel constrained in everyday life, do you have any personal method for dealing with that feeling that you could share with us?
Shuchan Chiu: Find somewhere quiet and think about something happy.
For example, I often fantasise about winning NT$10 million. I mean, we could call it “thinking”. I think about how I’d divide it up after stamp duty and income tax, what kind of house I’d buy, how I’d decorate it…
I believe there’s some power in the idea that what you wish for can come true.
[says this with a completely straight face while talking absolute nonsense]
[Wait, is typing things in brackets like this really LKK?]
[But I can’t control it.]
[Just thinking about it makes me so happy.]
Q8: Music can give people strength. For you, what kind of strength or superpower does the Hakka language give you?
Shuchan Chiu: Through creating music in Hakka, I discovered that Meinong has its own particular accent and vocabulary.
After connecting with Hakka artists from different linguistic backgrounds, I realised how difficult it already is to create in your mother tongue. Being able to preserve the accent of your own hometown makes it even more moving.
Maybe one day we really won’t be able to speak Hakka anymore. But at least I can leave behind sounds and memories through music, something that can almost be archaeologically excavated in the future.
Whenever I think about that, I feel that I’m doing something truly worthwhile.
Q9: You’re about to embark on a tour of headline shows. What kind of connection are you most looking forward to creating with your audience in person?
Shuchan Chiu: Just as I hoped with my first album, I hope that at certain moments in their lives, my music can be there to accompany them.
Q10: Finally, could you share a few songs you’ve been playing on repeat recently, songs that make you feel free?
Shuchan Chiu: Shan Yichun “I Can’t Control Myself”; Enno Cheng “How Does One Learn a Language”; and Olivia Dean “Man I Need”.
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