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The Cambodian Space Project

 

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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។

Websitecambodianspaceproject.org
Facebook: ~/The-Cambodian-Space-Project
Soundcloud
: @thecambodianspaceproject

 

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


Websitecambodianspaceproject.org
Facebook: ~/The-Cambodian-Space-Project
Soundcloud
: @thecambodianspaceproject

 

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

The Voice of Teshima Aoi

“Healing.”

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?


「癒し。」

これが手嶌葵さんの声を説明するのに最も頻繁に使われる言葉です。都市に住んでいる人々は、愛、親密さ、ストレスのたまる仕事やテンポの速い生活など多くのことを体験します。そのため休息やリラックスのための時間が必要です。それがなければ、毎朝起きて地下鉄に飛び乗る元気など湧かないでしょう。

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.


手嶌さんが最初に有名になったのは、10年くらい前です。10年前といえば、宮崎駿監督の「千と千尋の神隠し」と「ハウルの動く城」の大成功で、ちょうどスタジオジブリの人気が最頂点に達したときです。2006年には、「ゲド戦記」がやっと劇場で公開され、予期せずに、当時、無名の高校生だった手嶌葵さんにスポットライトが当たるようになりました。

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.”


多くの人は、手嶌さんの最初のヒット曲となった「ゲド戦記」の「テルーの唄」を聴いて、彼女のファンになりました。宮崎吾朗監督が、当時、高校生であった手嶌葵さんに映画の主題歌を歌わせることを主張した際、マスコミは、「高校生が有名に」という見出しで、彼女について報道しました。しかし、「テルーの唄」の驚くほど美しい歌い出しを聴いたあと、この新人ミュージシャンについてのすべての疑問が消えました。手嶌さんの声は、純粋な、穏やかな、静かな、強力な音を1つに組み合わせるので、滑らかですが、弱くはありません。日本語の説明を借りると、手嶌葵さんのサウンドの中に隠れているのは「刺すような冷たい柔らかさ」です。

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.


10年という月日が経ち、スタジオジブリファンの小さなグループから、「ローズ」が常に聞こえる上海の街まで、より多くの人々は、手嶌さんの名前を知るようになりました。手嶌葵さんは、彼女が有名になる前から応援してきた中国のファンに感謝しています。また、自身の音楽キャリアの中で新たな可能性と課題を探るために常に懸命です。2014年には、手嶌さんは、非常に強いイメージとより成熟した自己の感覚を示すアルバム「Ren’dez-vous」をリリースしました。同年、スタジオジブリは、当分の間、制作部門を休止すると発表しました。

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.


20158月、手嶌葵さんは、中国本土での初めてのコンサートを開催しました。集まった観客を見ながら、彼女は、最初は少し緊張しているようで、中国語で「謝謝、謝謝」と繰り返しお礼を言いました。ドレスを着た手嶌さんは、いつものように恥ずかしがり屋の自身のままで、バンドメンバーと共演しました。バンドの他の日本からの出演者は、ギタリストやキーボーディスト一人ずつでした。シンプルなアンダースコアで、「テルーの唄」のサウンドは10年前のオリジナルと何ら変わりないようでした。「ローズ」と「ラヴィアンローズ」を演奏した後、もう一つのスタジオジブリ作品「コクリコ坂から」の主題歌「さよならの夏」を披露しました。

「夕陽のなか呼んでみたらやさしいあなたに逢えるかしら。」

ステージの下では、音楽に合わせ前後に揺れるグロースティックを手にしたファンの姿がありました。

少なくとも手嶌葵さんの声のおかげで感激です。

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。

Websiteaoiteshima.com

 

Contributor: Taylor Shen
Photographer: Ka Xiaoxi


ウェブサイトaoiteshima.com

 

供稿人:Taylor Shen
フォトグラファー:Ka Xiaoxi