關於 the one music travel love lyrics ，我們在網路上蒐集到這些相關的討論、資訊與評價

【✨就在今晚✨】8/12 (Sat) 跟著爵士去旅行 - 高雄站 Travel With Jazz - Kaohsiung @ Madker Live House & Restaurant 美德客音樂餐酒館

高雄，我們今晚見！

Vocal/Celine Hsu 徐席琳
Guitar/Fang-Shu Li 李芳旭
Bass/Stone Shih 石哲安
Drums/Tim Lin 林宥廷

🎤 Madker Live House & Restaurant 美德客音樂餐酒館
地址：高雄市鹽埕區七賢三路43號
電話：(07) 531 3538
表演時間：7 - 9 PM
表演編制：Quartet (Vocal + Guitar + Bass+ Drums)
入場費用：$500 （$200可抵餐飲）

女爵・騎士集結了台灣新生代爵士樂手，曲風精緻優雅。經典爵士搖擺、清新飄渺芭莎、簡約現代爵士原創曲目。擅長將樂曲添加豐富元素，呈現多樣化的音樂體驗，包括主題音樂會、與搖擺舞蹈結合等，活躍於多處Live表演場地，並長期駐唱演出。在地扎根，接軌國際，享受爵士即興當下獨一無二的美好。

女爵・騎士《Lady & Knight》
☛演出時間：2017/8/12(六) 19:00-21:00
☛入場費用：$500/人(可抵用200元餐飲消費)
歡迎來電 ☎ 07-531-3538或 FB私訊預約
------------------------------------------------------

Vocal / Celine Hsu 徐席琳

歌手徐席琳(Celine Hsu)來自澳洲雪梨，有著波西米亞靈魂，旅居加拿大法語區蒙特婁、東京、香港、上海、北京等城市，遊牧巴黎、紐約，足跡遍佈21個國家數十個城市。澳洲華人歌唱大賽Finalist，於雪梨學習歌唱技巧，隨英國皇家音樂檢定指導老師進修聲樂，並持續參加爵士樂手研習課程。歌聲時而甜美時而低沈細膩，擁有辨識度極高的清雅優柔嗓音，以自在唱腔細細描繪每首歌曲。

Guitar / Fang-Shu Li 李芳旭

吉他手李芳旭(Fang-Shu Li)自15歲開始學習吉他，曾贏得YAMAHA熱音賽及政大金旋獎最佳吉他手，於2016年台中爵士音樂節新手比賽中以「李芳旭Trio」獲得前三甲的殊榮，也在2016年台北爵士音樂節中獲邀大安森林公園演出。為了在吉他演奏技巧上精益求精，芳旭於服役後前往美國洛杉磯，於洛杉磯音樂學院（ Los Angeles College Of Music）進修吉他演奏。他的演奏呈現了簡約的內斂風格，並兼具精準和自然的情感表現，芳旭特有的觸感，讓樂音化繁為簡，卻更多了一些態度。

Bass / Stone Shin 石哲安

電貝斯手石哲安(Stone Shih)的音樂風格深受爵士與J-Pop影響，並跨足搖滾與R&B等領域。於2016年台中爵士音樂節新手比賽中參與「李芳旭Trio」獲得前三甲的殊榮，也在2016年台北爵士音樂節中獲邀大安森林公園演出。除長期參與各式風格之創作、編曲、錄音、商業廣告配樂外，亦追求音樂本質能力的不斷精進，接收國際多位大師如比利時爵士貝斯名家Bart De Nolf、旅歐Saxophone大師John Ruocco之指導。

Drums / Tim Lin 林宥廷

爵士鼓手林宥廷(Tim Lin)於2016年台北爵士音樂節新秀比賽獲得第二名的佳績，於2015年獲選為台北爵士音樂節菁英樂手，並曾與「藍莓派爵士樂團」一同獲得2010年台中爵士音樂節新秀比賽第一名，多次受邀參加台中爵士音樂節演出。擅長風格包括爵士、拉丁爵士、Jazz Funk 及Rock等，近來更將觸角延伸到戲劇與舞台，隨著各種製作在兩岸演出。林宥廷 Tim 的鼓聲中，樂曲注入了心跳，強弱節拍裡產生不同的化學作用，更多的深度及廣度，更多靈魂，更觸及內心深處。

Lady & Knight is a group featuring vocals and other talented musicians that performs at various venues and events such as wedding receptions, private parties, cocktail hours, dinners, company parties and jazz cafes. Lady & Knight brings you pop crossover bossa nova and swing, and their very own jazz reinterpretation of classical masterpieces.

Originally from Sydney, Australia, Vocalist Celine Hsu was trained by vocal coaches who are renowned for their Classical, Jazz, and Contemporary vocal styles. An avid traveller, she has lived in fascinating cities such as Beijing, Shanghai, Hong Kong, Tokyo, Montreal etc.. The experience gained through her travel, has allowed Celine to appreciate musical diversity and adapt unique features into her own musical style. With Psychology Studies background, Celine adds depth into the lyrics and tells stories through songs.

Guitarist Fang-Shu Li began playing guitar at the age of 15. Gaining recognition for his talent in guitar by winning several titles as the Best Guitarist through competitions, Fang-Shu continued to improve his skills by attending Los Angeles College Of Music in the United States. Since returning to Taiwan, Fang-Shu has been awarded the best newcomer with his band "Fang-Shu Li Trio" in 2016 Taichung Jazz Festival, and was invited to perform at the Taipei Jazz Festival in the same year.

Bassist Stone Shih possesses an intriguing music style which is influenced by a variety of music genre, such as Jazz, J-Pop, Rock and R&B. Stone is a talented composer and arranger and has worked on various commercial projects. Always perfecting his craft, Stone continues to attend masters’ workshops and has been coached by Bart De Nolf, John Ruocco and alike. He has been awarded the best newcomer with "Fang-Shu Li Trio" in 2016 Taichung Jazz Festival, and was also invited to perform at the Taipei Jazz Festival in the same year.

Drummer Tim Lin is a regular participant at the various Jazz Festivals, as well as a regular performer at other renowned live jazz venues around Taiwan. He was awarded the Best Newcomer along with the band "Blueberry Jazz Pie" in 2010 Taichung Jazz Festival and in 2016 Taipei Jazz Festival. In 2015, Tim was also selected as one of the elite Musicians at the Taipei Jazz Festival Elite Jazz Camp and subsequently performed at the Festival. With passion and eagerness to expand his expertise in drums, Tim has also participated in theatre and musical productions.

Videos 影像連結：
《Honeysuckle Rose》 https://youtu.be/qoPmSlSaRK4
《All Of Me》https://youtu.be/V7qkHXvRQgE
《Fly Me To The Moon》https://youtu.be/5bMMrqLY94Q
《I Wish You Love (French/English)》https://youtu.be/3lB0gO5-1Ps

女爵・騎士Lady & Knight 官方粉絲頁:
https://www.facebook.com/ladyandknight/

是瞪鞋客造就了世界，造就了夢境，造就了我。

◢【愛戀絮語 ◇ 哀愁牢騷】◣
╞ 《 終章 ─ 絨毛山線 》 ╡
親愛的朋友
當您看到此篇時
她是這一系列的最終篇章

在這過程中
我們除了在安靜的地下室中製造冰塊般固態聲響外
對於瞪鞋
我們不斷討論著它的意義以及哲學

絨毛山線可以說是其中一種意象

感知瞪感這件事我們將之視為
朝聖神山般的遠行
它看起來是那樣模糊卻形之有物在百里之外
行至神山腳下的路是那樣蜿蜒與崎嶇

在這一系列中
我們在歌詞上有所琢磨
並且幾乎以全中文歌詞寫作
希望能帶給大家的另類聽感
畢竟
這是我們對於世界的愛

如果喜歡的話，
按下分享是對我們最大的鼓勵
或是立即傳訊息訊私下給親愛的（瞪鞋）朋友
當然，如果現在無法戴上耳機，
也請點選右上角先將連結儲存
等到一個人散步時再將它拾起

♫♬♩♭♪♫♬♩♭♪♫♬♩♭♪♫♬♩♭♪
驅
往返山裡面
聞鳥語詩篇
正纏綿
於
凝視海平面
相互著依偎
星與月
去
圍繞著圓圈
觀潮汐漲退
不停歇
情
歡愉中淪陷
圖眾生幻滅
訴愚昧

唱著呢喃絮語
迷惘
望著絨毛山線
迷惘

親吻你臉龐
的模樣

♫♬♩♭♪♫♬♩♭♪♫♬♩♭♪♫♬♩♭♪
---
◢【Poem of Love ◇ Poem of Sadness】◣
╞ 《 Last Chapter ─ Fuzzy Mt. 》 ╡
Dear my friend,
When you see this post,
It's the last chapter in this series.

In these days,
We not only made solid- noise like ice cubes
but also had a lot of discussion about -
WHAT IS SHOEGAZE?
What's its meaning and philosophy?

Fuzzy Mt.,
it's one of its meaning for us.

To feel shoegazing,
we thought it's a long travel to a holy mountain.
It looks so close but fuzzy, far away from hundred miles.
Also, it's a long and winding road.

In this series,
we tried hard on writing lyrics in Chinese.
We hope it could lead you to feel shoegazing in other language.
After all,
this is our love to the world.

If you like,
just share line or message to your (shoegaze) friends.
Or, if just cannot listen now but want to,
please click 'save post' on up-right side
Open it again when alone somewhere.
Thanks.
-
https://youtu.be/5gU38YznopE
-
Written/Performed by DoZzz
Recorded by Pada at 61 Music Studio
Mixed by Jyun-Chi Huang.
Cover by Han Wu
---

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….

#THEFIRSTTAKE でも披露された「Love Song」(内澤崇仁/androp 提供楽曲) のリリックビデオを公開！

▼「CITURS」「Love Song」ほか#Da_iCE 最新楽曲はコチラから
https://da-ice.lnk.to/songs

▼Da-iCE (大野雄大・花村想太) - Love Song feat. 内澤崇仁 (androp) / THE FIRST TAKE
https://youtu.be/vA5rM0yW6zY


#世界中がラブソングで溢れる


World with Love

そんな想いを託して紙ヒコーキが世界の空を巡り、
辿り着いたその先にはー


是非「Love Song」にのせて
紙ヒコーキと世界の空旅 をご一緒に！
世界を オンライントラベル してみてください！



音楽で心に寄り添えるようなー

そして、、

そばにいるよという想いも込めてー


Love Song


from Da-iCE

×

内澤 崇仁(#androp)




そっと降る雪が君に似てるな
ねえ会いたいよ　寂しすぎるよ
目を閉じれば近くにいるの　
笑う君は美しい

君は少し照れた顔して
鼻先までマフラーをあげるの
ああ僕は君を見つけたんだ
世界一幸せ

まるで君はさ　
一人きりのプリンセス　僕はナイト　
悲しまないで　
助けに来たよハニー

世界中がラブソングで溢れる
おいでよ　あたためてあげる
-君のLove Song-

しょうがないな　どうぞ使って
手袋は僕の手　この腕はマフラー
抱きついてコートにして
君を想えば想うほど心がまた歌になる
あったかい理由は君のせい

会えない時間は　
もっと好きになる調味料　
味わっておこうよ　
愛したいんだよハニー　

世界中がラブソングのステージ
どこでも連れてってあげる
特等席だよ　君の隣は

また初めての君を知ってしまった　そういうとこが好き
君がこれからいくつも変わっていっても　変わるたび恋をする
もしいつか離れても　
どっちかがいなくなったとしても
泣いてるならすぐに行く　
寂しいなら手を握る
髪を撫でる　笑わせる　抱きしめる　
ずっと

ココロがラブソングになって
君のもとへと向かう
受け取ってくれるかい？

世界中がラブソングで溢れる
おいでよ　あたためてあげる
何度も贈るよ君へのラブソングを
愛を誓う歌
-君のLove Song-


Lyrics / Music / Arrangement：内澤 崇仁





「Love Song」が世界中に届きますようにー





＃紙ヒコーキと世界の空旅 〜Love Song〜

0:00 日本 #Japan
0:30 スイス #Switzerland
0:40 ドイツ/ベルリン #Deutschland #Berlin
0:48 ノルウェー/ロフォーテン諸島 #Norway #Lofoten
0:57 イギリス/ブリストル #UK #Bristol
1:06 フランス/モン・サン＝ミシェル #France #MontSaintMichel
1:15 フランス/パリ #France #Paris
1:24 トルコ/インスターンブール #Turkey #Istanbul
1:28 フランス/ニース #France #Nice
1:43 ドイツ/ケルン大聖堂 #Deutschland #EspañaBarcelona
1:51 不明　#どなたかこの場所ご存知でしょうか? #unknown
2:00 ロシア/モスクワ #Russia #Moscow
2:05 アメリカ/ハリウッド #USA #Hollywood #California
2:13 シンガポール/マリーナベイサンズ #Singapore #MarinaBaySands
2:22 アメリカ/ニューヨークシティ #USA #NewYorkCity
2:31 スロベニア/ブレッド湖 #Slovenia #LakeBled
2:38 ボリビア/ウユニ塩湖 #Bolivia #Uyuni #saltlake
2:45 ノルウェー #Norway
2:49 不明　#どなたかこの場所ご存知でしょうか? #unknown
3:03 スイス/ジュネーブ湖 #Switzerland #LakeGeneva
3:08 スイス/グリンデルヴァルト #Switzerland #Grindelwald
3:16 日本/東京 #Japan #Tokyo



6th ALBUM「SiX」
2021年1月20日発売
▼詳細はコチラ
https://da-ice.jp/discography/detail.php?c=&id=1017912

▼予約＆配信サイトはコチラ
https://avex.lnk.to/Da-iCE_SiX

▼Da-iCEの楽曲をCheck!
https://avex.lnk.to/Da-iCE_Music

◆Da-iCE Official HP　http://da-ice.jp/
◆Da-iCE Ofiicial YouTube Channel https://www.youtube.com/c/DaiCECH
◆Da-iCE Ofiicial LINE　@daice
◆Da-iCE OFFiCiaL FUN CLUB a-i　https://bit.ly/2RZR3Il

★androp Official HP https://www.androp.jp

#クリスマス
#冬ソング
#Da_iCE
#androp
#SiX
#LoveSong
#ラブソング
#世界遺産
#絶景
#trip
#travel
#globalcapture
#sky
#Xmas

firsttt single is out on spotify, apple music and everywhere!!!
magic portal to the song: https://orcd.co/getlost_moontang ~

feels weird but oh welllll

THANKS FOR ALL THE LOVE !!

Lyrics by moon tang
Composed by moon tang
Arranged by Daniel Toh & Enoch Cheng

LYRICS

The world’s moving so fast I’m confused
Are you lost?
Are you trying to find yourself?
Are you being someone else?

We’re all tired of being a fool
But we still do the things that we do everyday
Bad decisions that we made

All the feelings that I couldn’t hide
And every little thought that only comes at night
My heart, my mind collide
Should I go or should I try?

Who am I trying to impress
All my expectation turns into regrets
I’m never gonna make it if I keep on chasing time

Reach, reach for the stars
We will go far
Let’s get lost in our own way
Feel, feelings inside
There’s no need to hide
Let’s get lost in our own pace

If I could be anywhere
I’d probably stay right here
No one to tell me where to go
I love to be on my own

If I could fly I’ll try
To travel with no plans no strings no ties
Listen to the voice in you
All you need is to follow

All the feelings that you try to hide
And every little thought that only comes at night
My heart, my mind collide
Should I go, at least I’ll try to

Reach, reach for the stars
You know who you are
Let’s get lost in our own way
Feel, feelings inside
There’s no need to hide
Let’s get lost in our own pace

CHORDS

Verse / Pre-chorus
E E A D9
E E A D9

Chorus
E Bm A D9
E Bm A D9

follow me on Instagram for moreee updates!
https://www.instagram.com/moonstyles_/

Quick summary of what I saw and recorded during my roadtrip to Canada Rockies including the magnificent Banff town, then proceed with Princess Cruises to witness the Glacier Bay in close distance. Aurora from Juneau was a bonus view throughout the trip. We tried dog sledding on a snowy mountain and the experience in Alaska is priceless.

This was suppose to be just summary of some hyperlapse and timelapse. BUT when I found the right song, I told my self to bring this to the next level. Tried my best to match the lyrics with the visuals and music. Although not all timelapse footage are stabilized, I do hope that this video makes you feel like paying a visit to this place I love a lot.

Thanks @moment for organising this #hyperlapsechallenge #MomentChallenge as I went to dig out all these memorable footages and reminds me the magnificent views & experience in #Alaska

If there's a chance that Moment is organising a photography trip to here, I would love to help out and join the adventure together! #travelblogger

If you like this, spread the love❤

Song: Rare Love - @cody_francis_music

Edited solely on mobile


【????+?????+???????? ?? ????????】?
http://bit.ly/TianChadYT

【GEAR I USE】
Nikon D850 with 14-24mm, 24-70mm
Samsung Galaxy S9+
Joby Gorillapod 5K Kit
Moment Lens for Mobile Phone

【10% OFF】 @MOMENT LENS & STOREWIDE with code "FIRSTMOMENT10"
https://moment.8ocm68.net/c/2247428/775341/11129


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