【專訪】伯爵白《情人未遂 Situationtrip》：在遺憾與不甘心之中，延續搖滾的生命力
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。
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。
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。
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
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!
About the author
好青年
Music maniac is the part of me that lives for music. ♫～愛聽音樂、喜歡音樂、欣賞音樂、愛上音樂～♥ 和好青年一起沉溺音樂、徜徉其中，成為音樂狂熱分子吧！
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