今天YAMAHA熱音大賽的決選名單公布囉!http://tw.yamaha.com/…/new…/asianbeat/asianbeat2015annouce2/
10/23前進決賽啦!
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IMC Live樂團大賽網路人氣決選倒數6天!喜歡我們音樂的大家麻煩你們快幫我們對這個連結分享/按讚吧!
只要按讚便能夠在比賽當天抽中運動毛巾><
但重點是這機制竟然是站評分標準的15%呀><
感謝你們感謝你們!!!!!!!!!!!!!!!!!
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★計分方式:對喜愛的樂團照片下按讚得1分,分享得2分(請將分享權限設為公開,採計不重複的帳號)
★計分比例:票選積分占複賽成績之15%
★票選期間:即日起~9/26 23:59
★抽獎資格:按讚者即有抽獎資格
★品項數量:1個樂團照片下各抽出1名,共計25位得獎者,贈送STAGE運動毛巾壹條。
第一屆IMC Live樂團大賞 複賽入選──
【椅子 Chairs'】
↘2分鐘試聽連結:https://youtu.be/h-HJzRW2aAc
↘粉絲專頁:https://goo.gl/XKRr2r
✴9/27 14:00@臺北文創大樓-文化廣場(松山文創園區),25組樂團同台較量,不見不散!
【樂團簡介】
「椅子Chairs’」是來自台中的獨立民謠(Indie folk)樂團,歌曲多以木吉他為底,透過清新的配器與樂風的結合,突破聽覺的窠臼,實驗民謠與各種樂風的胡亂組合。民謠的精神在於描繪出庶民生活的酸、甜、苦、辣,椅子則是最貼近人們的事物,我們習以為常、從不特別探究,卻不可或缺;我們立志透過創作訴說台灣這片土地上小人物的日常及其在生命中所堆疊出的故事。
成員詠靖、伯元、仲穎及陳肯在高中時代是吉他社的好朋友,彼此的個性和喜愛的音樂類型有著微妙的差異,2012年在硬地音樂PK賽擦撞出了火花,寫下了第一首歌〈The Golden Age Blues〉,也榮幸獲得第一名。隨後我們活躍於各大專院校的比賽並持續進行創作,包含〈Kaleidoscope〉、〈Question No More〉等。
椅子早期的創作以英文歌為主,希望向The Beatles、John Mayer等人致敬。在這個探索的過程,團員們嘗試開發不同的樂器,卻也曾為團體的定位感到困惑而陷入沉寂。我們終於在2014四月這個躁動的季節做出創團的宣示:3月18日爆發了太陽花學運,團員的家庭所遭遇生離死別,促使我們開始認真思考想要在青春期留下什麼樣的詩篇。 七月,我們回到吉他社籌辦了名為「椅子之夜」的演出,作為樂團之路的第一站;八月,團員們進行了為期十二天的單車環島,確信我們必須以我們所居住的這片土地上發生的故事為素材進行創作。
九月,團員們決定樂團應該要發行一張單曲EP,但幾經討論後,決定直接籌備正式專輯,因此我們的第一張正式專輯即將誕生,並定名為《Cheers! Land》 ,內將收錄〈年輪〉、〈惦惦的夢〉、〈Cheers!〉等十首歌曲。我們終仍回頭擁抱我們最喜愛的木吉他,並持續實驗如何輔以各種配器的使用來凸顯吉他的音色、在獨立民謠曲風中走出自我。
Chairs' is a indie-folk band from Taichung, Taiwan. All of our songs are driven buy acoustic guitars, trying to experiment the possibilities of folk music. We aim at telling stories that take place on the land we live.
同時也有2部Youtube影片,追蹤數超過2萬的網紅中山 繁樹 Shigeki Nakayama,也在其Youtube影片中提到,Murdo Mitchell is a singer-songwriter from Glasgow. With his unique voice and upbeat self-penned folk-rock songs he has amassed a wide and active fan ...
「new age folk songs」的推薦目錄:
- 關於new age folk songs 在 椅子樂團 The Chairs Facebook 的最讚貼文
- 關於new age folk songs 在 YOSHITOMO NARA Facebook 的最佳貼文
- 關於new age folk songs 在 Facebook 的最佳貼文
- 關於new age folk songs 在 中山 繁樹 Shigeki Nakayama Youtube 的最佳貼文
- 關於new age folk songs 在 V.K克 Youtube 的最佳貼文
- 關於new age folk songs 在 Best Folk Songs 2023 ♫ Top Folk Pop Music 2023 Playlist 的評價
- 關於new age folk songs 在 New Modern Folk Music 2023 的評價
new age folk songs 在 YOSHITOMO NARA Facebook 的最佳貼文
Nobody’s Fool ( January 2011 )
Yoshitomo Nara
Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.
It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.
But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.
While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.
As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.
In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.
Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.
Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!
I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.
Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.
By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.
After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.
And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.
Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.
But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.
The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.
Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.
After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.
Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.
After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.
I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….
new age folk songs 在 Facebook 的最佳貼文
史上最震撼的流行演奏盛會
完全顛覆你對鋼琴的所有想像
多人感動落淚,千人漏夜排隊
魔幻鋼琴王子V.K克
台北《愛‧無限》流行鋼琴演奏會
網路版完整原音原影重現
即將推出,敬請期待
V.K克 國際官方網站 http://www.VK-style.com/
V.K克 Facebook http://www.facebook.com/VKstyle
《V.K克》,台灣新生代跨界演奏音樂最傑出的鋼琴演奏藝人,2009年製作發行首張鋼琴全創作演奏專輯─《鏡
夜》,旋即拿下台灣KKBOX心靈演奏類排行榜冠軍,擊敗已久據排行榜寶座許久的外國藝人《凱文‧柯恩》。
2010年,V.K更推出他的最新全創作專輯《愛‧無限》,不但再度攻陷台灣KKBOX心靈演奏類排行榜冠軍,更在短短一周
內,在博客來演奏銷售排行榜上攻進前三名,引爆風潮。其音樂最大的特色是結合各項華人音樂的元素,融合多種樂
器,曲風多變,時而清新自然,時而開闊千里;縷縷扣人心弦卻又能讓人感到加倍幸福溫馨。一直對台灣有著相當大
的關懷以及情感的《V.K克》,利用音樂及網路的力量,在國際間發光發熱,為台灣的藝術音樂文化,增添一筆筆佳話。
此次在歌迷千呼萬喚之下,終於舉辦個人首場大規模演奏會《愛‧無限》。有別於一般的鋼琴演奏會,V.K強烈展現
其與眾不同的特質,從選曲到大編制的弦樂樂團,都有著極具巧思的安排,除了將演出膾炙人口的多首成名曲《鏡
夜》、《純白》、《海洋之息》、《地球之淚》、《愛‧無限》、《琴之翼》、《茉莉‧想念》,為了不辜負引頸期盼
已久的歌迷們的期望,也為了完美呈現樂曲中的中國風味道,特別邀請火紅的女子演奏團體《無雙樂團》擔任特別嘉賓,
同台競技,也聘請大型管弦樂團《長榮交響樂團》為其配樂演出。
當然同時也將在演奏會上表演下一張專輯的新曲,帶給大家無限驚喜。不論你是《V.K克》的粉絲,或是演奏音樂的愛好
者,你絕對不能錯過,史上最炫麗,最動人的跨界鋼琴演奏會:『V.K克《愛∞無限》台北演奏會』。
V.K, a creative artist with rich talents and outspoken characters, started playing the piano at the age of 4 and composing music at the age of 13, which foretold his destiny to take a profession in the field of music.
With surprising absolute pitch and strong musical sensibilities, this well-known internet music producer sincerely expresses the sounds of daily lives through piano and music.
After experiencing several pop music album productions, V.K decides to communicate to the world with his own music. This heart-releasing biographical album brings us not only the unforgettable piano melodies, but also invited well-known performing group 《Venus string trio》 collaborating to bring a more perfect sound with strings and drums.
Chinese style garnished with Japanese rock,《Crimson Sakura》was produced with the highest specification and will bring a shock wave into the Chinese music industry which has been lacking new blood.
Originally produced for MOS burger's TV commercials,《Matcha latte》, 《Pure White》, and 《The Breath of Sea》 are the masterpieces of V.K's style of New Age and has overtaken Kevin Kern's top position and become number one in "KKBOX", the biggest digital music chart in the Chinese region. 《Pure White》imitated Japanese gifted folk singer Hajime Chitose's particular singing style through keyboard and established V.K's unique style of performing.
《Melody of Elves》describes a group of isolated elves who enchantingly symphonize their songs of life. Inspired by the famous Japanese anime film 《Nausicaä of The Valley Of The Wind》, the《Melody of Elves》reveals V.K's master in music for animated films.
《The Season of Vanilla Bubbles》is a hit incidental music in community website "wretch" and has soon hit the top for users utility rate. It describes the pure and melancholy love stories in the snowy white Christmas season.
With splendid piano techniques, dazzling rhythmic drumbeats, title track《Reflection》is the newest style of performing as if singing antiphonally in R&B style. The drumbeats, piano and strings collaborate, yet compete with one another to create the sparks that light up the climax to bring you into V.K's piano world.
With the release of《Reflection》, V.K expresses his music philosophy with gifted talents and music senses which extend to create amazing musical elements that are both ravishing and alluring. In the winter of 2009, we look forward and hope that the most wonderful touching moments will come down like snowflakes around you and I.
new age folk songs 在 中山 繁樹 Shigeki Nakayama Youtube 的最佳貼文
Murdo Mitchell is a singer-songwriter from Glasgow. With his unique voice and upbeat self-penned folk-rock songs he has amassed a wide and active fan base which he can proudly say includes sixties icon Donovan. This Hurdy Gurdy Man recently said of the eighteen-year-old musician, “…he has what I had at his age, the hunger to communicate.”
With such endorsements it’s no surprise then that Murdo has been adding to his ever growing fan base – almost 5,000 Twitter followers – with a slew of gigs. From an impromptu slot with Glen Hansard at The Old Fruitmarket to supporting X-Factor star Nicky McDonald, Murdo has been fervently honing his live skills and performance since the age of eleven. Now currently writing new material – following up 2014’s single ‘Better Than Me’ – he is looking forward to securing festival slots and showcasing the new songs.
From busking beginnings to shining star, Murdo Mitchell’s endearing and heartfelt lyrics are steadfastly garnering additional press coverage and radio play. It’s an exciting time, and with such raw talent he clearly belies his 2013 track title ‘No One Has It All’.
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https://www.facebook.com/Murdo-Mitchell-Music-125130304246180/
【留学再生リスト】
https://www.youtube.com/playlist?list=PLnKUFXsTXOh8p5oOmHGMemQWeaKAFdVr7
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new age folk songs 在 V.K克 Youtube 的最佳貼文
史上最震撼的流行演奏盛會
完全顛覆你對鋼琴的所有想像
多人感動落淚,千人漏夜排隊
魔幻鋼琴王子V.K克
台北《愛‧無限》流行鋼琴演奏會
網路版完整原音原影重現
即將推出,敬請期待
V.K克 國際官方網站 http://www.VK-style.com/
V.K克 Facebook http://www.facebook.com/VKstyle
《V.K克》,台灣新生代跨界演奏音樂最傑出的鋼琴演奏藝人,2009年製作發行首張鋼琴全創作演奏專輯─《鏡
夜》,旋即拿下台灣KKBOX心靈演奏類排行榜冠軍,擊敗已久據排行榜寶座許久的外國藝人《凱文‧柯恩》。
2010年,V.K更推出他的最新全創作專輯《愛‧無限》,不但再度攻陷台灣KKBOX心靈演奏類排行榜冠軍,更在短短一周
內,在博客來演奏銷售排行榜上攻進前三名,引爆風潮。其音樂最大的特色是結合各項華人音樂的元素,融合多種樂
器,曲風多變,時而清新自然,時而開闊千里;縷縷扣人心弦卻又能讓人感到加倍幸福溫馨。一直對台灣有著相當大
的關懷以及情感的《V.K克》,利用音樂及網路的力量,在國際間發光發熱,為台灣的藝術音樂文化,增添一筆筆佳話。
此次在歌迷千呼萬喚之下,終於舉辦個人首場大規模演奏會《愛‧無限》。有別於一般的鋼琴演奏會,V.K強烈展現
其與眾不同的特質,從選曲到大編制的弦樂樂團,都有著極具巧思的安排,除了將演出膾炙人口的多首成名曲《鏡
夜》、《純白》、《海洋之息》、《地球之淚》、《愛‧無限》、《琴之翼》、《茉莉‧想念》,為了不辜負引頸期盼
已久的歌迷們的期望,也為了完美呈現樂曲中的中國風味道,特別邀請火紅的女子演奏團體《無雙樂團》擔任特別嘉賓,
同台競技,也聘請大型管弦樂團《長榮交響樂團》為其配樂演出。
當然同時也將在演奏會上表演下一張專輯的新曲,帶給大家無限驚喜。不論你是《V.K克》的粉絲,或是演奏音樂的愛好
者,你絕對不能錯過,史上最炫麗,最動人的跨界鋼琴演奏會:『V.K克《愛∞無限》台北演奏會』。
V.K, a creative artist with rich talents and outspoken characters, started playing the piano at the age of 4 and composing music at the age of 13, which foretold his destiny to take a profession in the field of music.
With surprising absolute pitch and strong musical sensibilities, this well-known internet music producer sincerely expresses the sounds of daily lives through piano and music.
After experiencing several pop music album productions, V.K decides to communicate to the world with his own music. This heart-releasing biographical album brings us not only the unforgettable piano melodies, but also invited well-known performing group 《Venus string trio》 collaborating to bring a more perfect sound with strings and drums.
Chinese style garnished with Japanese rock,《Crimson Sakura》was produced with the highest specification and will bring a shock wave into the Chinese music industry which has been lacking new blood.
Originally produced for MOS burger's TV commercials,《Matcha latte》, 《Pure White》, and 《The Breath of Sea》 are the masterpieces of V.K's style of New Age and has overtaken Kevin Kern's top position and become number one in "KKBOX", the biggest digital music chart in the Chinese region. 《Pure White》imitated Japanese gifted folk singer Hajime Chitose's particular singing style through keyboard and established V.K's unique style of performing.
《Melody of Elves》describes a group of isolated elves who enchantingly symphonize their songs of life. Inspired by the famous Japanese anime film 《Nausicaä of The Valley Of The Wind》, the《Melody of Elves》reveals V.K's master in music for animated films.
《The Season of Vanilla Bubbles》is a hit incidental music in community website "wretch" and has soon hit the top for users utility rate. It describes the pure and melancholy love stories in the snowy white Christmas season.
With splendid piano techniques, dazzling rhythmic drumbeats, title track《Reflection》is the newest style of performing as if singing antiphonally in R&B style. The drumbeats, piano and strings collaborate, yet compete with one another to create the sparks that light up the climax to bring you into V.K's piano world.
With the release of《Reflection》, V.K expresses his music philosophy with gifted talents and music senses which extend to create amazing musical elements that are both ravishing and alluring. In the winter of 2009, we look forward and hope that the most wonderful touching moments will come down like snowflakes around you and I.
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