Tag Archives: musician

Shedding Labels with 9m88

With a head full of curly hair and an oversized coat, 9m88 is a jazz singer who has risen to fame in the Taiwanese music scene in recent times. Her fashion sense often radiates a stylish retro vibe, sprinkled with offbeat, comical touches in the detail. From head to toe, the way she dresses is reminiscent of someone from straight out of an 80s discotheque. Her unique, idiosyncratic style is what’s most striking about her, after her voice.

9m88’s unexpected rise to fame came about following a successful collaboration with rapper Leo Wang on “Weekends with You.” She has a deep, sultry, alluring sound, the kind that feels more fitting for the age of cassette tapes than our Spotify generation. With nothing to go on but a voice alone, it’d be easy to attribute her voice to a soul singer with a few decades under her belt. But in reality, 9m88 is a millennial whose music career is just taking off.

一头卷发,穿着过大的宽松外套,仿佛刚从八零年代复古歌厅走出来的个性女孩,她是台湾当今独立音乐界最受瞩目的爵士女声 9m88。她全身上下散发一股时髦的复古气息,有时候再加点搞怪的戏谑成分。这种别人模仿不来的独特风格,是这位歌手除了歌声之外,让人印象最深刻的标记。

因为一首和说唱歌手 Leo 王合唱的《陪你过假日》,大家像着了迷似的开始追踪这个魅力十足的嗓音,关于 9m88 的好奇一一浮现。歌声是磁性、低沉而且迷人,是适合存在在卡带里的那种悠扬。如果没有见过她本人,光听声音,脑中想像的是一位已经唱了十年多载的老灵魂歌手。但 9m88 不过是 90后,音乐生涯刚刚起步而已。

My name is 9m, sounds like Joanne


Perhaps like me, you were mystified the first time you saw the name 9m88 – it almost looks like the name of a radio station. In reality, 9m (“jiu em”) is an approximation the English name Joanne, while 88 (“ba ba”) comes from her childhood nickname, Xiaoba.

Ever since she was a child, 9m88 dreamed of becoming a star, she confesses with a laugh. And that always meant through music. She often had intricate fantasies about being on stage with backup dancers performing behind her. “At some point, I’ll have to shoot a few music videos with singing and dancing – definitely!” she laughs. “But now that my artistic career is becoming serious, I’m looking at things more from the perspective of 9m88, figuring out what I want to bring to this world as an artist.”

我的名字 9m,是 Joanne 的諧音


第一次听说这号人物时,连名字都让人有点摸不着头绪,容易联想到某个广播电台。9m 其实是英文名 Joanne 的谐音,88 则取自中文小名‘小芭’。9m 笑说自己从小就有明星梦,音乐是一直不变的梦想,常常幻想有舞者在后面帮忙伴舞那种大排场的演出。“ 未来拍几支唱跳歌手的 MV 还是必须的!但现在当创作者的使命变大了,我会更以 9m88 的身份去做考量,思考自己作为一个创作者,要带给这个世界的是什么。”




While she may not have a group of glamorous backup dancers or tens of thousands of fans at her concerts yet, it doesn’t matter much to her. She just wants to live her life honestly and simply. Even without the resources of a mega-celebrity, she’s still able to create meaningful work when inspiration strikes.

The song “Nine Head Hinano” is a great example of this – it’s a theme song she wrote for a key ring designed by her friends Sid and Geri. The key ring is made up of nine heads, with each representing a different woman. The lyrics describe each woman with a single short line, revealing a little secret about their lives, such as “Joanne sang jazz but didn’t make it, had to work selling juice on the side of the road” (in Taiwan roadside juice stalls are often staffed by attractive women), or “Janet just wanted a little love, went on Tinder but got no likes.”

With this song, the message she hopes to communicate is that people come in different shapes and sizes – there’s not necessarily a one-size-fits-all model. In 9m’s opinion, in a society with an increasingly unified standard of beauty, everyone’s gotten so used to striving for so-called perfection that they’ve forgotten that having flaws is healthy and perfectly normal. It’s an intriguing song that sounds casual but is layered with meaning.

即使没有华丽舞群和万人演唱会,只要诚实、简简单单的过好日子,灵感来时不犹豫的把握住,就算没有大明星级的资源,也一样能做出好的作品。这首《九头身日奈》 是她帮朋友 Sid and Geri 设计的钥匙圈所写的主题曲,钥匙圈上面九个头代表九种女生,歌词里每个女生都只用短短一句话形容,揭幕她们生命中不经掩饰的小秘密。“Joanne 她唱爵士乐却没有红,只好去卖大脚桶”(大脚桶是台湾路边常见的果汁摊贩,店员通常是很漂亮的女生)、或“Janet 只想要一点爱,上 Tinder 却没人 Like”。

人本来就各式各样,不一定只有一种样板,9m 想说的是在这个审美观逐渐趋向一元化的社会里,大家似乎都习惯了朝所谓被认定的‘完美’方向前进,却忘了有缺点其实是一件健康、再正常不过的事情。是一首听起来随意,背后意义却不随意的有趣作品。

I don’t care who wants to be a jazz singer


9m went from being a bedroom musician to an artist now under the limelight – after such an abrupt change in status, how does she perceive herself? “I’ve actually never stopped creating, and as a female creator, femininity has long been a concern of mine,” she says. “As for jazz music, that’s just one part of what I’ve studied. Today my main creative focus is searching for the value of being ‘myself.’ It’s hard to say what I’ll want to talk about in a few years.”



从一个埋头写歌的女孩,到舞台上迎着众人目光的歌手,面对状态的转换,9m 是如何定位自己? “我其实一直都在创作,身为一个女性创作者,‘女性’ 这个表述本来就长在我身上。至于爵士乐,它就是我学习的一部分而已。目前的创作主轴主要还是放在探索身为 ‘我’ 的价值,很难说过几年后我会想要讨论什么。”

As more and more people are beginning to hear her work, her shows in Taiwan have begun to sell out, and with this success, she’s even scheduled tour dates abroad. It might still be too early to say her childhood musical dreams have come true, but this is definitely a promising beginning. At this point in time, planning for a full-time career as a jazz singer might be jumping the gun. But she says it doesn’t matter where life takes her – what’s important is the music. “I think music is music. It doesn’t need a hard definition. Having a style is good, but the spirit of music is not making distinctions,” she says. “‘Jazz performer’ is a label other people put on me when they were trying to help me out. I just want audiences to get to know 9m88 better. I don’t care who wants to be a jazz singer. None of that matters. The main thing is to do what you like.”

作品被越来越多人听见,在台湾的表演场场完售,还巡演到了海外。说从小的音乐梦实现了,还太早,但这一切依然是个美好的开始。9m88 在音乐界引起了一阵小小的炫风,现在就问未来生涯是严肃了点,对 9m 来说,怎么走无所谓,一切重要的只关乎音乐。“我觉得音乐就是音乐,是不需要硬去定义的。有风格很好,但不分家才是音乐的精神。爵士女伶这个称号是别人为了帮我放一个注解,我只想让观众更认识 9m88。至于爵士女伶谁想当,我没关系,都不重要。给你或妳当吧,人生欢喜就好!”

Facebook: ~/9m88baba
Instagram: @9m88


Contributor: Yi Xuan
Photographer: Xu Anrong

Instagram: @9m88


供稿人: Yi Xuan
摄影师: Xu Anrong


The Story of OAG



OAG, which stands for Old Automatic Garbage, was formed on Christmas Day in 1992 and was one of the first English-language alternative rock bands to enjoy mainstream success in Malaysia. They first came from the underground music scene and were initially influenced by seminal 60’s rock bands such as The Velvet Underground, The Beatles, and Pink Floyd.

OAG 全称 Old Automatic Garbage,是一支在 1992 年圣诞节成立的乐队,也是马来西亚第一批成功进入主流市场的英语另类摇滚乐队之一。他们一开始活跃于地下音乐界,而上世纪六十年代的摇滚乐队,比如地下丝绒乐队(The Velvet Underground)、披头士(The Beatles)和 Pink Floyd 这些乐队,则给予了他们音乐创作的最初影响。

The band’s big break came when they signed to Positive Tone and released their debut album, Old Automatic Garbage, in December 1994. The album went far beyond anyone’s expectation at the time, eventually going triple platinum and helping spark off the alternative music scene in Malaysia. Their hit, “60’s TV,” has become one of the most recognizable alternative rock songs in Malaysia, and the song’s accompanying music video also helped signal a new creative direction for music videos in the country. The band would become well known by Malaysian audiences for their exciting live performances and catchy tunes.

1994 年 12 月,乐队与 Positive Tone 音乐制作公司签约,并发行首张专辑《Old Automatic Garbage》,迎来乐队生涯的重大转折点。这张专辑获得了超乎所有人预期的成功,最终销量高达三百万,同时也让另类摇滚在马来西亚流行起来。他们的热门曲目《60’s TV》已经成为马来西亚国内最知名的另类摇滚歌曲,这首歌的 MV 也为马来西亚音乐 MV 创作开启了新的方向。凭借精彩的现场表演以及琅琅上口的音乐,OAG 成为了马来西亚家喻户晓的名字。

The success of their first album was followed up by a critically acclaimed, dance-inspired EP, Melody Mocker, and the band was also enlisted to write and perform the theme song for the 1997 FIFA World Youth Championship. The two albums that later followed in 2002 and 2003 respectively, Opera Radhi-o Friendly and Satelit Inkwere recorded in their native Malay language as the band tried to attract a bigger Malay audience.

首张专辑大获成功后,乐队之后发行的舞曲风格 EP《Melody Mocker》也广受好评。随后,乐队获邀为 1997 年的国际足联世界青年足球锦标赛创作和演唱主题歌曲。在 2002 年和 2003 年,他们又分别发行了两张以母语马来语创作的专辑《Opera Radhi-o Friendly》和《Satelit Ink》,试图吸引更多马来西亚当地听众。

Since then, the band went through a few lineup changes and a couple hiatuses. Founder, lead vocalist, and guitarist Radhi Razali says that one of the challenges for rock music in Malaysia is that people still underrate rock bands at times. Radhi tells us, “The music industry in Malaysia is very diverse and [the music is] getting weirder, bigger, bolder, crazier. There’s a lot of new experimental stuff coming in by the young newcomers, but rock is still always here. Rock is tough. Rock will never die in Malaysia!”

此后,乐队又经历了一些成员变动和几次休整。乐队创始人、主唱和吉他手 Radhi Razali 认为,对于本土摇滚音乐来说,他们所面临的挑战,有时是源于摇滚乐队在马来西亚未曾受到重视的现实。Radhi 告诉我们:“我认为马来西亚的音乐产业非常多样化,并且变得越来越怪异、浩大、大胆……也变得更疯狂,现在的年轻人带来了很多全新的实验音乐,可摇滚乐还是屹立不倒。在马来西亚,摇滚乐是永垂不朽的!”

The band just celebrated their 25th anniversary last year and marked the occasion with a special concert in Kuala Lumpur at The Bee Publika, combining old and new members alike. The current generation of OAG is the fifth generation of the band, with Radhi Razali on vocals and guitar, Qi Razali on drums, Muhamad Nizam on guitar, Nazrin Zabidi on bass, and Izmer Khasbullah on keyboards. “I’m hoping it’s also gonna be the last generation of OAG because I’m getting old,” Radhi says, “I might look like a 16-year-old Jackie Chan, but I’m 39 years old already!”

在去年,乐队刚刚庆祝了他们成立 25 周年的纪念日,并在吉隆坡 The Bee Publika 举行了一场特别的音乐会,新老成员一起同台出演。目前 OAG 队员已经是乐队的第五代成员,包括主唱和吉他手 Radhi、鼓手 Qi Razali、吉他手Muhamad、贝斯手 Nazrin Zabidi 以及键盘手 Izmer Khasbullah 在内。“我希望我们这一代的 OAG 也是最后一代了,毕竟我年纪也大了。”Radhi 说,“我可能看起来还像 16 岁的成龙,但我已经 39 岁啦!”



Contributor, Photographer & Videographer: Leon Yan



供稿人,图片摄影师与视频摄影师: Leon Yan

“Falter” by Black Letters



Black Letters is a four-piece alternative rock band based out of Bangalore, India. Comprised of Sharath Narayan, Sarang Menon, Arjun Radhakrishnan, and Akash Chacko, the band harnesses a dreamlike sound that blends electronica and rock elements with wistful pop vocals. Their unique sound has led to the band to be hailed as one of the most promising talents in the Indian music scene. “Falter” is the debut single from their upcoming album released via Overfeed Records. The accompanying music video for “Falter,” directed by Pranav Bhasin and Ankur Vyas, tells a surreal story about two lovers caught between worlds.

Black Letters 是一个印度班加罗尔的另类摇滚乐队,由 Sharath Narayan, Sarang Menon, Arjun Radhakrishnan 和 Akash Chacko 四人组成。他们用梦幻般的音效,将电子和摇滚元素与流行金曲结合起来,为自己打造出印度最有前景的乐队声名。《Falter》作为他们的首张单曲,将由 Overfeed Records 唱片公司收录并发行于整张专辑中。歌曲的 MV 由 Pranav Bhasin 与 Ankur Vyas 执导,讲述了两个恋人在不同世界之间的离奇故事。

Take a listen below to “Landscaper,” the second single from their upcoming album.

Black Letters – Landscaper


Black Letters – Landscaper

Facebook: ~/blackletters
Instagram: @blackletters


Contributor: George Zhi Zhao

脸书: ~/blackletters
Instagram: @blackletters


供稿人: George Zhi Zhao

Duck Fight Goose



The Shanghai-based experimental electronic music group Duck Fight Goose was formed in 2009 initially as a rock band, when Han Han approached 33 and Panda about starting a new band. At that time, their early music was influenced by neo-psychedelic rock, experimental music, and math rock. In 2013, a new drummer Jean Baptiste joined the group, replacing the original drummer Damen, who had moved to Austin, Texas. Soon after that, the band also started experimenting with synths, DAW software, and different ways of producing electronic music.

成立于2009年的鸭打鹅,是一支上海的实验电子音乐组合,始于韩涵找33与熊猫组建一支摇滚乐队。他们早期的风格深受新迷幻摇滚、实验音乐,以及电子摇滚的影响。2013,新鼓手Jean Baptiste加入乐队,以替代移居美国德州奥斯丁的原鼓手大门。随后不久,乐队也开始尝试合成器、DAW软件,以及不同的电子乐制作方式。

Take a listen below to a few new select tracks from Duck Fight Goose:

Duck Fight Goose – Indifferent

Duck Fight Goose – A Nation of Disillusion

Duck Fight Goose – Lucky Star


鸭打鹅 – 无差别

鸭打鹅 – 幻灭国度

鸭打鹅 – 幸运星

Seven years after forming, the group has just released their second full length album, named CLVB ZVKVNFT. The title comes from an actual nightclub in Zurich, Switzerland named Club Zukunft, that the group visited when they were on tour in Europe in 2014. Translated it means “club of the future” but inside the club, the décor is actually very 80s. Han Han explains, “The 80s were when contemporary electronic music, as we now know it, was born – but this decade for us still felt especially human and analog.” So for the group, the name was a good fit for the new record, in that it encapsulated the thinking behind their sound perfectly.

乐队成立七年之后,他们发行了第二张全长专辑《未来俱乐部》,又名《CLVB ZVKVNFT》。专辑名字来源于乐队2014年欧洲巡演时演出过的一间酒吧,这间酒吧位于瑞士苏黎世,叫做“Club Zukunft”,翻译过来的意思就是“未来俱乐部”。尽管有着一个这样的名字,但事实上,这个地方的内部装潢极具上世纪80年代的风格。韩涵解释道:“那80年代的时候呢,实际上是当代的电子乐的一个开端。但是呢,这个年代可能就是特别人性的一个年代。”所以,对于乐队来说,这个名字再适合这张新专辑不过,同时也高度概括了他们在音乐背后的思考。

Over the years, the group’s sound has evolved very dramatically to incorporate more experimental electronic sounds and textures. Drummer JB says, “it is very difficult to give a predefined style to our music. There is a lot of mixing of things that we are doing, and we have a lot of influences – so there isn’t a clear style.” Han Han tells us that overall they have two main influences: one is progressive electronic music (along the lines of Aphex Twin, Clark, or Venetian Snares), and the other is the type of rock music that the band has always played. For Panda, despite their many evolutions in style, there is still a kind of continuity in their discography, as they have always set out to be an experimental band from the very beginning.

多年以来,乐队不断融合新的实验电子音质和风格,曲风变化奇大。鼓手JB表示:“很难用一种既定的风格来描述我们的音乐。我们混合了太多我们正在探索的东西,而且我们也深受各方面影响,所以并没有一种明确的风格。”韩涵对我们说,总体上看,作用于乐队的有两大影响: 一个是现代电子乐 (这一派的代表人物有Aphex Twin、Clark,和 Venetian Snares),另一个就是乐队经常表演的那种摇滚乐。对于熊猫来说,虽说他们的曲风多经演变,但始终有一种连续性贯彻于他们的音乐专辑中,因为从乐队成立之初,他们就旨在打造一个实验型的乐队。

They like to describe the band’s style as trying to merge the human and analog, with a sound that was produced electronically with machines. The group doesn’t believe in producing music solely from computers or software, as it can easily end up sounding too precise and simple. Han Han says that the group hopes to merge the two styles, and in the process still “try to keep all the interesting and groovy elements”. As for future developments for DFG, the band would really like to see themselves evolve into more of a performance group with more experiential and visual elements incorporated into their live performances – and function less like a conventional band. For 33, it is always uncertain what the future may hold, but she feels that the current direction the band is embarking on is an exciting and interesting one. Duck Fight Goose’s new album CLVB ZVKVNFT is out now and available for download on iTunes.


: ~duckfightgoose
Facebook: ~duckfightgoose
: ~duckfightgoose


Contributor & Videographer: Leon Yan
Photographer: Banny Wang

iTunes: 《未来俱乐部》
: ~duckfightgoose
脸书: ~duckfightgoose
Bandcamp: ~duckfightgoose


供稿人与视频摄影师: Leon Yan
图片摄影师: Banny Wang

The Cambodian Space Project



The Cambodian Space Project is a psychedelic rock band that was formed in 2009 in Phnom Penh, Cambodia. The core of the group consists of Tasmanian musician Julien Poulson and Cambodian singer Srey Channthy. Their music can be described as a mix of original Khmer psychedelic rock and sounds from the 60s, which are the years many people consider to be the golden age of Cambodian pop music, before the destruction brought forth by the Khmer Rouge. Frontwoman Channthy grew up in the countryside after the Pol Pot years. In order to make ends meet, she left her village to work in rice fields and construction sites, cleaned houses, and finally ended up singing in a karaoke bar, where eventually she would meet Julien Poulson. We talked to Poulson about how their music came about, and the recent documentary about Channthy’s remarkable life.


គម្រោងThe Cambodian Space Projectគឺជាក្រុមតន្ត្រីរ៉ុកមួយបង្កើតឡើងក្នុងឆ្នាំ 2009 នៅរាជធានីភ្នំពេញប្រទេសកម្ពុជា។ អ្នកចម្រៀងពិសេសប្រចាំក្រុមនេះមាន តាស់ម៉ានីន ជូលីន ប៉ូលសុន (Tasmanian Julien Poulson) និង អ្នកចម្រៀងកម្ពុជា ឈ្មោះ ស្រី ចន្ធី (Srey Channthy)។ ចម្រៀងរបស់ពួកគេគឺមានលាយតន្ត្រីរ៉ុកខ្មែរ’n’ដុំៗ និងសម្លេងពីទសវត្ស 60 – ជំនាន់អធិរាជសម្លេងមាសនៃតន្ត្រីប៉ុបរបស់កម្ពុជាមុនការសម្លាប់រង្គាលដោយសម័យខ្មែរក្រហម។ ស្ត្រីឈានមុខគេ ចន្ធី បានធំធាត់ឡើងនៅក្នុងតំបន់ជនបទបន្ទាប់ពីសម័យពលពត។ ដើម្បីចញ្ចឹមគ្រួសារ នាងបានចាកចេញពីស្រុកកំណើតទៅរកការងារនានាធ្វើដូចជានៅរោងចក្រអង្ករ, អ្នកជូតផ្ទះ, ការងារសំណង់, ហើយជាងចុងក្រោយទៅច្រៀងនៅបារខារ៉ាអូខេ, ជាកន្លែងដែលនាងបានជួបប៉ូលសុន (Poulson) ដោយចៃដន្យ។ ពួកយើងនិយាយទៅកាន់ប៉ូលសុនអំពីការកើតន្ត្រីឡើងរបស់ពួកគេយ៉ាងណាដែរ, និងភាពយន្តឯកសារថ្មីមួយអំពីជីវិតដែលគួរឱ្យកត់សម្គាល់របស់ ចន្ធី។


Neocha: Why did you choose the name “The Cambodian Space Project”?

PoulsonHaving the word “Space” in our name gives us a lot of creative flexibiity. We might not necessarily be playing space rock, but we have plenty of stylistic space to move, morph, and change shape along the creative journey. Also, the notion that there just might have been a covert space project happening deep in the Cambodian jungle is quite fascinating. I also find the tone and inflection of Cambodian female vocals to be shrill, transcendent, and very spacey. Channthy sometimes sounds like an alien singing, she is the perfect space diva to bring that whole amazing cosmic Cambodian catalogue of 1960’s Cambo Rock into the 21st Century. I feel like the name is a fantastic match for the music trip we’re all on.

Neocha: ហេតុអ្វីបានជាអ្នកជ្រើសយកឈ្មោះថា “The Cambodian Space Project”?

Poulson: ការមានពាក្យថា “លំហ” ក្នុងឈ្មោះនេះផ្តល់អត្ថន័យច្រើនដល់យើងអំពីសិល្បៈទាំងអស់ “លំហ” ផ្លាស់ទីជុំវិញដូច្នេះយើងអាចនឹងមិនចាំបាច់ត្រូវលេង “តន្ត្រីរ៉ុកលំហ” ប៉ុន្តែមានរចនាបទជាច្រើនដើម្បីផ្លាស់ប្តូរ, ប្តូរ និងការផ្លាស់ប្តូររូបរាងតាមការធ្វើដំណើរប្រកបដោយគំនិតឆ្នៃប្រឌិត។ ដូចគ្នានេះផងដែរ ការកត់សម្គាល់នេះថាគ្រាន់តែអាចត្រូវមានជាគម្រោងលំហមួយបានកើតឡើងជ្រៅជាសម្ងាត់នៅក្នុងព្រៃកម្ពុជាដែលកំពុងត្រូវបានគេអំពាវនាវ។ ខ្ញុំបានរកឃើញសម្លេង & ការលើកដាក់សម្លេងឡើងចុះដ៏ស្រួចស្រាវរបស់នារីកម្ពុជា , មានភាពវិសេសវិសាល និង “ទូលំទូលាយ” ណាស់…ពេលខ្លះចន្ធីមានសម្លេងច្រៀងដូចជនបរទេស និងជាកំពូលអ្នកចម្រៀងដែលមានសំនៀងទូលំទូលាយគ្រប់ដង្ហើមចេញចូលទាំងស្រុង, អស្ចារ្យ, ដូចអ្នកចម្រៀងកាតាឡុកកម្ពុជានៃក្រុមហ៊ុន Cambo Rock ក្នុងទសវត្ស 1960 – ឈានចូលសតវត្សទី 21។ ឈ្មោះគឺវាល្អសមគ្នានិងសិល្បៈ និងដំណើរក្រុមតន្ត្រីរបស់ពួកយើង។

Neocha: How does Cambodia inspire your sound? Who are your influences as a band? What’s the general feedback from your Cambodian audience in contrast with your audience overseas?

PoulsonThe band began in Phnom Penh simply as an idea to bridge different music cultures and to create a public event that would appeal to both the Khmer and Western audience. We began with a setlist of 60’s Cambodian Rock – songs that are performed by virtually all of the local wedding bands, but have also been made internationally available on Cambodia Rocks reissues. All of the artists from the “Golden Era” are a huge influence, but then so are Western rock groups like The Velvet Underground. Our latest LP Electric Blue Boogaloo is made up of songs that take their influence from Mexican Garage, French Ye Ye, the Dutch group Shocking Blue, Serge Gainsbourg, the 13th Floor Elevators from Texas, and 60’s Italian Freak Beat.



Neocha: តើប្រទេសកម្ពុជាជម្រុញសំឡេងរបស់អ្នកយ៉ាងដូចម្តេច? តើអ្នកណាមានឥទ្ធិពលលើក្រុមតន្ត្រីរបស់អ្នក? តើអ្វីជាមតិឆ្លើយតបទូទៅពីទស្សនិកជនកម្ពុជាមានភាពផ្ទុយគ្នាទៅនិងទស្សនិកជនរបស់អ្នកនៅបរទេស?

Poulson: ក្រុមតន្ត្រីនេះបានចាប់ផ្តើមនៅក្នុងរាជធានីភ្នំពេញគ្រាន់តែជាស្ពានទៅរកវប្បធម៌តន្ត្រី និងដើម្បីបង្កើតព្រឹត្តិការណ៍សាធារណៈអំពាវនាវចំពោះសមាជិកទាំងពីរដែលជាទស្សនិកជនខ្មែរ និងលោកខាងលិច។ យើងបានចាប់ផ្តើមជាមួយសំណុំចម្រៀងរបស់ក្រុមហ៊ុនរ៉ុកកម្ពុជានាទសវត្ស 60 – បទចម្រៀងស្ទើរតែទាំងអស់ដែលច្រៀងក្នុងបទចម្រៀងនានាស្ទើរតែទាំងអស់ដែលបានច្រៀងជាមង្គលការក្នុងស្រុកត្រូវធ្វើឱ្យប្រើបានឡើងវិញជាអន្តរជាតិ លើក្រុមហ៊ុន Cambodia Rocks។ សិល្បករសិល្បការនី “Golden Era” ទាំងអស់ជាអ្នកមានឥទ្ធិពលខ្លាំង ប៉ុន្តែបន្ទាប់មកជាក្រុមរ៉ុកសិល្បៈលោកខាងលិចដូចជាក្រុម Velvet Underground ជាដើម។ LP Electric Blue Boogaloo ចុងក្រោយរបស់ពួកយើងត្រូវបានតាក់តែងជាចម្រៀងដែលយកឥទ្ធិពលរបស់ពួកគេពីតារាចម្រៀងដូចជា Mexican Garage, French Ye Ye, Dutch group Shocking Blue, Serge Gainsbourg, Texan 13th Floor Elevators, និង ក្រុម Italian Freak Beat នាទសវត្ស 60។

Take a listen to some of our favorite tracks from The Cambodian Space Project:


The Cambodian Space Project – Denim Lover

The Cambodian Space Project – Laisses Tomber Les Filles

The Cambodian Space Project – Woman Wants to Drink

The Cambodian Space Project – The Boat

ស្ដាប់បទចម្រៀងជ្រើសរើសរបស់យើងខ្ញុំមួយចំនួនពី ដឹខេមបូឌា ស្ពេស ប្រូជេក:


The Cambodian Space Project – Denim Lover

The Cambodian Space Project – Laisses Tomber Les Filles

The Cambodian Space Project – Woman Wants to Drink

The Cambodian Space Project – The Boat

NeochaHow did the documentary come about? Tell us about the process of making it, and what has been the reception so far? 

PoulsonI was first in Cambodia thinking I would make a music documentary, not form a band. I started doing this, and along the way, met two people who would turn out to be very important to the documentary story: Marc Eberle, who took over the making of Not Easy Rock’n’Rolland Channthy, whose character is just the right balance of truth, fiction, and fantasy to make the whole thing a story worth telling.

Neocha: តើឯកសារនេះបង្កើតឡើងដូចម្តេច? ប្រាប់ពួកយើងពីដំណើរការបង្កើតវាបានទេ, និងអ្វីដែលត្រូវបានគេទទួលស្វាគមន៍មកទល់ពេលនេះ?

ប៉ូលសុន: កាលដែលខ្ញុំនៅកម្ពុជាលើកដំបូងខ្ញុំគិតថាអាចធ្វើបានតែឯកសារតន្ត្រី មិនមែនបង្កើតក្រុមទេ។ ខ្ញុំចាប់ផ្តើមធ្វើនេះនិងនៅតាមផ្លូវបានជួបមនុស្សពីរនាក់ដែលក្លាយទៅជាមានសារៈសំខាន់ណាស់ចំពោះរឿងភាពយន្តឯកសារ: Marc Eberle ដែលជាអ្នកមើលការខុសត្រូវ និងជានាយកក្នុងការបង្កើតភាពយន្ត “Not Easy Rock’n’Roll”ហើយចន្ធីដែលជាតួរអង្គប្រកបដោយតុល្យភាពនៃសេចក្តីពិត, ប្រឌិត និងទាក់ទាញដើម្បីធ្វើឱ្យមានតម្លៃក្នុងការប្រាប់ពីសាច់រឿងទាំងមូល។

Neocha: What are you working on now and what are you looking forward to in the future? Any new projects or upcoming shows?

Poulson: We’re currently staging a music theatre called Cosmic Cambodia that also explores Channthy’s story both on and off the stage, and at the same time it’s being developed into a rock opera that we’re calling Hanuman Spaceman, which is a collaboration with Brazilian-Australian director Carlos Gomes and producer Harley Stumm of Intimate Spectacle. Channthy and I will be looking at ideas for new songs and we will see where these ideas take our band in 2016 and beyond.

Neocha: តើពេលនេះអ្នកកំពុងធ្វើការលើអ្វី ហើយអ្វីដែលអ្នកសម្លឹងថាឆ្ពោះទៅរកនាពេលអនាគត់? តើនៅមានគម្រោងថ្មី ឬ ការប្រគុំក្នុងពេលខាងមុខណាទៀតទេ?

Poulson: ថ្មីៗនេះពួកយើងកំពុងបង្កើតភាពយន្តតន្ត្រីដែលហៅថា”Cosmic Cambodia”ដែលឆ្លុះបញ្ចាំងពីប្រវត្តិរឿងរបស់ ចន្ធី ក្នុងនិងក្រៅឆាក ហើយកំពុងត្រូវបានអភិវឌ្ឍដូចជាល្ខោនអូបេរ៉ា ពួកយើងហៅថា”Hanuman Spaceman”។ វាបង្ហាញថាជាកិច្ចសហការជាមួយលោកនាយក ប្រេស៊ីល អូស្ត្រាលី លោក Carlos Gomes និងផលិតករលោក Harley Stumm នៃ”Intimate Spectacle”។ ចន្ធី និងខ្ញុំនឹងកំពុងស្វែងរកគំនិតសម្រាប់បទចម្រៀងថ្មី ហើយងនឹងស្វែងរកទីកន្លែងសម្រាប់គំនិតទាំងនេះចាប់ផ្តើម CSP ក្នុងឆ្នាំ 2016 និងលើសពីនោះ។

Neocha: How did you all meet and fall into the groove of making music together? How did Srey Channthy first react when you all started playing together?

Poulson: At first, it was just me on an acoustic guitar accompanying Srey Channthy at a bar called The Alley Cat. We knew about three or four songs reasonably well and played these songs three to four times during that first night. The bar started filling up and by the end of the night we had a whole band of musicians jamming along with various instruments. I think Channthy was certainly surprised, she was probably a bit nervous at first before the show. She burst into tears at another show earlier in our career. She was so emotional because of the very enthusiastic reaction from an audience made up from both Cambodian and Westerners who applauded by yelling out and clapping, which is something Cambodian audiences just don’t do. Instead, they dance. Since this humble beginning, as a frontwoman, the bigger the shows, the higher Channthy flies. Thankfully, the rest of us have all been blessed with the experience of flying along with Channthy. The band has now performed hundreds of shows around the world, from remote Cambodian villages to major festivals in over 20 countries. Once, we played a jail in outback Australia, while another odd but memorable venue was at an elephant’s 50th birthday party.

Neocha: តើអ្នកទាំងអស់គ្នាបានជួប និងចូលច្រៀងតន្ត្រីរួមគ្នាយ៉ាងណា –​តើស្រីធីមានប្រតិកម្មលើកដំបូងយ៉ាងដូចម្តេចពេលអ្នកទាំងអស់ចាប់ផ្តើមលេងជាមួយគ្នា?

Poulson: ដំបូងខ្ញុំគ្រាន់តែជាអ្នកលេងហ្គីតាសូរស័ព្ទអមស្រីចន្ធីនៅបារមួយដែលគេហៅឈ្មោះថា អាលី ខែត (Alley Cat)។ យើងបានដឹងថាប្រហែលបីឬបួនបទចម្រៀងនិងលេងបានយ៉ាងល្អដោយសមហេតុផលទាំងនេះជាចម្រៀង 3-4 បទក្នុងអំឡុងពេលយប់ដំបូង។ នៅក្នុងបារតាំងពីចាប់ផ្តើម ដល់ចុងបញ្ចប់ពេលយប់ ពួកយើងនិងក្រុមតន្ត្រីទាំងមូលកាន់យកឧបករណ៍ផ្សេងៗ ហើយចាកចេញទៅ។ ខ្ញុំគិតថាចន្ធីប្រាកដជាមានការភ្ញាក់ផ្អើល ហើយប្រហែលជាសង្ស័យអីផ្សេងៗចំពោះការច្រៀងលោកដំបូងនេះ។ នាងយំសស្រាក់នៅមុនពេលច្រៀងក្នុងការប្រគុំផ្សេងៗទៀត។ នាងរំជួលចិត្តដូច្នេះដោយសារតែប្រតិកម្មសាទរយ៉ាងខ្លាំងពីទស្សនិកជនទាំងពីរបស្ចិមប្រទេស និងកម្ពុជាដែលបានសាទរដោយការស្រែកចេញនិងទះដៃ – ជាអ្វីដែលទស្សនិកជននៅកម្ពុជាមិនបានធ្វើ។ បន្ទាប់មក ពួកគេរាំ។ ចាប់តាំងពីចិត្តរាបទាបនេះចាប់ផ្តើម, ក៏ដូចជាស្រ្តីឈានមុខ, ជាការបង្ហាញធំ, ចន្ធីមានប្រជាប្រិយភាពខ្ពស់, និងដោយអំណរគុណ….អ្នកផ្សេងទៀតនៃពួកយើងត្រូវបានសរសើរដែលប្រកបដោយប្រជាប្រិយភាពជាមួយចន្ធី។ ពេលនេះក្រុមត្រូវបានដើរប្រគុំរាប់រយជុំវិញពិភពលោក ពីបណ្តាភូមិនៅប្រទេសកម្ពុជាឆ្ពោះទៅរកពិធីបុណ្យធំជាង 20 ប្រទេស។ មានម្តងនោះ ពួកយើងបានលេងនៅជិតពន្ធនាគារក្នុងតំបន់ដាចស្រយ៉ាលមួយនៅប្រទេសអូស្ត្រាលី ខណៈពេលដែលមិនមានតន្ត្រីនៅឡើយប៉ុន្តែតាមដែលចាំបានខ្លះៗគឺនៅក្នុងពីធីបុណ្យគំរប់ខួបលើកទី 50 របស់ដំរី។

Facebook: ~/The-Cambodian-Space-Project
: @thecambodianspaceproject


Contributor: Jia Li 
Photos & Video Courtesy of The Cambodian Space Project, Marc Eberle, Richard Kuipers, Rob Winter

Facebook: ~/The-Cambodian-Space-Project
: @thecambodianspaceproject


អ្នកជំនួយ: Jia Li 
មានការអនុញ្ញាតពី រូបថត & វីដេអូដោយ:
គម្រោង The Cambodian Space, Marc Eberle, Richard Kuiper, Rob Winter

The Multi-Talented Prodip Leung

Prodip Leung is a Hong Kong-based painter, illustrator, graphic designer, and musician. His work often combines music with experimental art, drawing from the legacies of street art, cartoons, and pop culture. This year, Prodip was also one of the 12 artists brought together by Gap REMIX Project to reimagine the classic Gap logo in an exclusive collection of graphic tees.

Prodip Leung(梁偉庭)是一位香港畫家、插畫師、平面設計師及音樂人。他的作品提取了街頭藝術、卡通及流行文化的精髓,常常結合了音樂和實驗藝術。今年,Prodip也是參與2015年Gap REMIX項目的12位藝術家之一,該項目邀請每位藝術家以各自風格重塑經典的Gap logo,從而打造出一個限量版T恤系列。



He first started his creative journey about 10 – 15 years ago. At that time, he was the bassist for LMF, a pretty well-known Cantonese hip-hop group in Hong Kong. In addition to playing the bass, he was responsible for all of the group’s graphic design and album art. While in LMF, he started getting into painting, illustration, toy design, and a bit of apparel design. Since the beginning, he has always been very independent about his creative endeavors, focusing only on the things that he enjoys, which he believes is “the way it should be”.


Ever since he was little, he always wanted to make toys. His shelves are full of toys and skateboard decks. Books are also a very big source of inspiration for him. He likes to read a lot of books about UFOs, aliens, monsters, new-age topics, ancient mysteries, and generally just strange things. As an artist and creative, Prodip likes to consider himself first and foremost as a storyteller. Storytelling is a major part of his creative process. In fact, the first thing he needs before he starts is a good story. All of his stories come straight from his imagination.


When talking about his hometown, Prodip admits he has a love-hate relationship with Hong Kong. He was born there and he also grew up there, but because of his artwork, he runs into a lot of problems and restrictions. “There’s not much you can do here as an artist,” he says, “Hong Kong is a very traditional city and the media here doesn’t push the envelope when it comes to the arts and music, which holds the city back creatively compared to the Western world.” He adds, “Me and my peers all want to make Hong Kong a more diverse, exciting, and progressive place, but it’s pretty hard.”


Prodip is really into the writings of Jiddu Krishnamurti. More than anyone else, including other artists, Krishnamurti is a big source of inspiration. His teachings stress doing things not for money but rather for the soul, and how to nurture a happy, well-rounded self. This core principle has helped Prodip solve so many problems in his life. Krishnamurti’s writings have helped him prioritize what is important and focus only on the meaningful stuff.

Prodip非常喜歡Jiddu Krishnamurti的書。比起包括其他藝術家在內的任何人,Krishnamurti才是他最大的靈感來源。他的學說強調從心行事而非爲錢行事,以及如何完善自身,做一個快樂完滿的自己。這個核心理念幫助Prodip解決了人生中的許多問題。Krishnamurti的書讓他懂得把重要的事放在首位,懂得只專注有意義的事。

Beyond that, Prodip is basically against everything: religion, the social system, the education system, the financial system, everything. He says, “The modern world and modern society is broken and it’s our responsibility to fix it. This is something that I agree with wholeheartedly.”

除此以外,Prodip幾乎抵制所有東西:宗教、社會體系、教育體系、金融體系、所有事。他說: “現代世界和當代社會已經敗壞,改變它是我們的責任。這是我深信不疑的事。”

Instagram: @prodipleung


Contributors: Leon Yan, Adam J. Schokora
Photographer: Adam J. Schokora

Instagram: @prodipleung


供稿人: Leon Yan, Adam J. Schokora
攝影師: Adam J. Schokora


Soft Lipa

Since the start of his music career in 2009, Taiwanese hip-hop artist Soft Lipa has gained a strong following with his smooth, jazzy hip-hop tracks. Songs like “Re Shui Zao” or “Cai Jiao Ta Che” bring out his enjoyment of daily life, or his song “Guan Yu Xiao Xiong”, which narrates the relationship of two lovers through a toy bear. Soft Lipa has adapted the hip-hop genre to fit a personal style that’s all about, in his words, “comfort.”

台湾嘻哈音乐人蛋堡,自2009年开始音乐生涯以来,已经通过他恬淡优雅的爵士嘻哈曲目赢得众多粉丝。 《热水澡》《 踩脚踏车》等作品描述的是他日常生活中的愉悦,《关于小熊》则是讲述两个恋人通过一只玩具小熊维系感情的故事。蛋堡认为,一切最重要的就是“舒服”,更是将这种个人风格渗入嘻哈音乐,让自己的作品独具一格。

Soft Lipa Choice Tracks:


 Soft Lipa – Re Shui Zao

 Soft Lipa – Qi Jiao Ta Che

 Soft Lipa – Guan Yu Xiao Xiong



 蛋堡 – 热水澡

 蛋堡 – 踩脚踏车

 蛋堡 – 关于小熊

Neocha: When you were back in high school in Tainan, what did you think then about hip-hop music and rap as a form of expression?

Soft Lipa: I first got exposed to hip-hop when I joined a club at school, the hip-hop dance group. Because of that group, I started to listening to hip-hop music. I heard MC Hotdog’s music during my last year of high school, and I thought about how Chinese rap could sound. That’s when I first tried writing my own music.

Back then, I thought of hip-hop as a music form that could give me a feeling of release. Since Taiwan’s school system is pretty intense, as well as in most of East Asia, I felt like hip-hop gave me a path outside of that.

Neocha: 你在台南一中读高中的时候,你当时对写饶舌歌曲和说唱作为一种音乐风格和表达形式有什么样的感觉?

蛋堡: 我一开始接触到嘻哈是通过参加学校的一个社团,就是热舞社,开始跳街舞。因为加入那个社团,我开始听一些像hip-hop风格这样的音乐。到了高三的时候,听到热狗(MC Hotdog)的音乐,我当时就觉得中文的饶舌也可以这样唱,可以这样写饶舌。所以我就开始自己尝试写写看。

那时候我觉得hip-hop是可以给我一个解放的感觉的音乐形式。因为像台湾的升学制度,会比较压迫一点,可能东方都是这样吧。所以当时hip-hop 这种音乐对我来说是一个出口,可以在里面得到解放。

Neocha: Most of your songs have a laid-back feel to them, or what you call “soft rap”. Does writing songs that are smooth and laid-back help you feel relaxed?

Soft Lipa: I tend to like things that I find comfortable. Not just hip-hop, also other kinds of music that feel comfortable to me. For me, it means letting myself relax. I always want to listen to music when I’m by myself working on something.

In terms of making music, I feel that music should be smooth and natural, which is how my music ends up sounding. Even with jazz, it’s all in a style that I like.

Another aspect is that hip-hop originated in the U.S., and East Asia is not like the U.S. As someone from the East, I find that people are more introverted here, which could make hip-hop less suitable. If you were to take it directly and move it over here, or copy it over here, it wouldn’t really work.

Neocha: 你大部分的歌曲一听就会有一种轻松的感觉,也是你所谓的轻饶舌风格。创作这样的歌曲会让你自己安静下来吗?

蛋堡: 我比较喜欢自己觉得舒服的东西。不一定是hip-hop,可能是音乐,我就是喜欢舒服的东西。它对我的意义就是,让我放松,而我需要放空,做我自己的事情的时候我想听音乐。


另一方面, hip-hop这个东西源自于美国, 我觉得东方不像美国,以东方人的角度来说,可能比较内敛一点,hip-hop不见得那么适合。如果你要直接把它移植、复制过来的话,其实没那么适合。

Neocha: There are only a few songs of yours that have Taiwanese in the lyrics. What is the difference between using Taiwanese versus Mandarin in your music?

Soft Lipa: The tonality of Taiwanese is different, since Taiwanese has eight tones. Because of this, when it comes to singing, Taiwanese has a greater degree of freedom. Mandarin is the official language, so it already has certain limitations to it, while Taiwanese has a lot of slang, and it has a very local feel to it. For writing songs, though, I still tend to use everyday Mandarin in my lyrics.

Neocha: 你的歌曲里面比较少有台语歌词的,对你来说用台语来说唱跟用国语来说唱有什么不一样的感觉?

蛋堡: 台语的音调上面不一样,台语有八个音。所以唱起来,台语的自由度会比较高。国语是官话,那它其中就是已经有某些限制。台语有很多俚语,是一种有local(当地)味道的东西。但我还是会想用那种生活化的国语的方式去表现。

Neocha: Hip-hop music is obviously not native to Taiwan, with its origins in New York in the 1980s. How do you view hip-hop culture? Do you try to produce entirely your own style of hip-hop music, or do you strive more to build upon traditional hip-hop?

Soft Lipa: Right now I have been adding more of my own ideas, my own feelings, into my music, so the creative frame is even looser. Whether something is hip-hop or not is more of a feeling or a vibe for me. All these years, hip-hop has become internal to me. It’s my main key that plays in the background. Whatever I do from here won’t stray from it.

Neocha: 因为嘻哈本身是一种外来的文化,源自于美国纽约的80年代。你对这种文化的态度是什么:你想做原汁原味的嘻哈音乐,还是在传统嘻哈音乐上做改良?

蛋堡: 到现在我会越来越多地加进自己的想法、自己的感觉,框架会比较开放一点。hip-hop还是不hip-hop,这其实是一种感觉,一种氛围。这么多年,hip-hop对我来说,某部分已经内化了,是我的一个基调,一个底蕴。所以,我再怎么做,我应该不会偏离太多了。

Facebook: facebook.com/softlipa
: @softlipapa


Contributor: Ross Donovan
Photographers: Crown Wang, Leon Yan

Instagram: @softlipapa


拱稿人: Ross Donovan
摄影师: Crown Wang, Leon Yan

The Voice of Teshima Aoi


This is the word heard most often when talking about Teshima Aoi’s voice. People who live in a city can experience a great deal: love, intimacy, stressful jobs, and a fast-paced life. There has to be a time for rest and relaxation. Otherwise how can you get up every day and hop on the subway in the morning?



It has been almost ten years now since Teshima first became well-known. Ten years ago also happened to be the height of Studio Ghibli’s popularity, with the huge successes of Hayao Miyazaki’s Spirited Away and Howl’s Moving Castle. In 2006, Tales from Earthsea finally came to theaters and unexpectedly brought the previously unknown Teshima Aoi, who was then just a high-school student, into the spotlight.


Most people started following Teshima after hearing “Therru’s Song” from Tales from Earthsea, which then became her first hit song. When the director Goro Miyazaki insisted on having Teshima Aoi, still in high school at the time, sing the theme song for his film, media reports all covered the story, with the headlines, “High School Student Hits Fame”. Yet after the stunningly beautiful start to “Therru’s Song”, all doubts about the new musician vanished. Teshima’s voice combines the pure, gentle, quiet, and strong into one sound: smooth, but not weak. To use a description from Japanese, hiding within Teshima Aoi’s sound is a “piercingly cold softness.”


As these ten years have gone by, from a small group of Studio Ghibli fans to the streets of Shanghai where at all times “The Rose” can be heard, more and more people began to know Teshima’s name. Teshima Aoi is grateful for her Chinese fans who have supported her since before she became famous, and in return she has constantly worked hard to explore new possibilities and challenges in her music career. In 2014, Teshima released her album Ren’dez-vous, which possesses very strong imagery and a sense of her more mature self. In the same year, Studio Ghibli’s production department announced its retirement for the time being.


August of 2015, Teshima Aoi held her first concert in mainland China. Looking out at her fans, she seemed a bit nervous at first, repeating in Chinese, “Xiexie, xiexie” (“Thank you, thank you”). Outfitted in a dress, Teshima was her usual shy self as she performed alongside her band members. The band’s other performers from Japan were one guitarist and a keyboardist. With a simple underscore, the sound of “Therru’s Song” seemed no different from its original, ten years prior. After performing “The Rose” and “La Vie En Rose”, there was another Studio Ghibli theme song, “Summer of Farewells” from the film From up on Poppy Hill:

“If I call your name under the sunset, will we be able to meet again.”

Below the stage there were fans following along with their glow sticks, swaying back and forth.

At least we have Teshima Aoi’s voice to carry us along.





Neocha: I heard that when Studio Ghibli approached you to do voice-over and recording for Tales from Earthsea, you declined at first. What later changed your mind to take part in the film?

Teshima Aoi: When the film’s director, Goro Miyazaki, first contacted me, I was still in high school at the time, and I wasn’t prepared to enter into a career in music. I initially wanted to wait longer before entering the music world, but Goro was very persistent, and I later realized that with his help, it would be an easier process. So in the end, I took the opportunity.

Neocha: スタジオジブリから「ゲド戦記」のボイスオーバーとレコーディングのお話しがあった際、最初はお断りしたそうですね。その後、映画に参加すると気が変わったきっかけは何ですか?

手嶌葵: 宮崎吾朗監督から連絡があった当時、私は、まだ高校生でしたので、音楽業界に入る心構えがありませんでした。最初は、音楽の世界に入る前にまだ時間が必要だと考えたのですが、宮崎監督は非常に粘り強く、その後、彼の助けを借りれば、簡単なプロセスになることに気づきました。そこで結局、その機会を活かしました。

Neocha: What does music mean to you?

Teshima Aoi: Since I was young, I have always listened to the music in movies, on the radio, and in TV shows, and I would sing along. Those were wonderful days. Even though I never thought of becoming a singer when I was growing up, I have always had a passion for singing. Later as I grew older, I found out quite luckily that others liked to hear me sing, and that gave me all the confirmation I needed to pursue singing.

Neocha: 音楽はあなたにとってどんな意味がありますか?

手嶌葵: 幼いときから、いつもラジオ、テレビ番組、映画で音楽を聴いて、一緒に歌ってきました。それは今思うと素晴らしい日でした。子どものときには、歌手になるなんて夢にも思いませんでしたが、いつも歌うことについて情熱を抱いていました。その後、成長するにつれ、非常に幸運なことに、他の人は私が歌うのを聴くのが好きだということがわかったので、歌うことを探究する決心がつきました。

Neocha: What is different about your new album Ren’dez-vous from all your previous work?

Teshima Aoi: This album has many songs about love and many songs that are about the feeling of being heartbroken. It has already been ten years since I began my music career, so I wanted to show the another more mature side of myself through this album.

Neocha: 新アルバム「Ren’dez-vous」は、ご自身の以前の作品と比べるとどう違いますか?

手嶌葵: このアルバムには、愛と失恋の気持ちについての曲が多く収録されています。音楽活動を始めて10年になりますので、このアルバムを通して自分のより成熟した側面をお見せしたいと思いました。



Contributor: Taylor Shen
Photographer: Ka Xiaoxi



供稿人:Taylor Shen
フォトグラファー:Ka Xiaoxi