发布第二张专辑《I May Be Some Time》获得 WherePostRockDwells 年度前五后摇专辑赞誉的伦敦后摇新队 Million Moons 在本次越位音乐节的第二日出演，并成为了许多后摇乐迷满意的“盲盒收获”——在演出前一日，我们在越位后台与 Million Moons 四位成员 Solomon（鼓手）, Ed（主唱/吉他）, Freddie（吉他）, Jay（贝斯）进行了一期专访，分享了关于《I May Be Some Time》的创作，他们的现场，以及对本次越位与中国行的期待与感受。
UPEE：你们去年发布的新作《I May Be Some Time》，从名字以及叙事中都有对探险家 Lawrence Oates 的致敬。可以分享为什么会想到以这样的内容和这个形象展开创作？
So：关于我们这两张专辑的创作过程，是从demo开始的。在这两张专辑，我们都是挑选那些我们集体认为内含了了我们想要共同探索的叙事线索的demo。然后，当你把整张专辑听下来，你会对它所将你带上的情绪上的旅程有一个整体的感受。我们花了很多心思去考虑如何将这种情感旅程与专辑的封面艺术、叙事相结合，让整张专辑听起来像一个有凝聚力的整体。而且，由于音乐的气质以及很多歌曲所暗示的那种旅程感，在我们这样的编排下，我们觉得 Ernest Shackleton 和 Lawrence Oates 这样的探险家的故事与我们产生了非常多共鸣，我们对他们的这些探险也感到有情感上的链接。这是一个我们个人层面上有共鸣的主题，而且我们认为它与音乐的基调非常契合。这就是为什么我们决定采用它作为我们在专辑中想要讲述的故事。
With the songwriting process for the first two records, I mean we started with its demos. In both cases, it was a matter of picking the demos that we collectively felt like they implied a narrative we worked together. And then, when you listen to the collection as a whole, you form a view about the emotional journey it takes you on. We thought a lot about how to connect that to artwork and a narrative to make the album feel like a cohesive whole. And because of the tone of the music and the journey that a lot of the songs imply, when arranged in the way we have, we felt that the story of Ernest Shackleton and other explorers like Lawrence Oates really resonated. There's also a sort of personal connection to this kind of exploration. We felt it was a topic we both had a personal connection to and that we thought really fit with the tone of the music. And that's why we settled on it as the story we wanted to tell.
UPEE：听众可以在《I May Be Some Time》里感到力量感，可以分享你们期待听众在这张作品里接收到什么样的信息？
So：就像Ed所写的，这张专辑的音乐很美，就像是可以带你进入一段段旅程，每首歌都能带你踏上新的探索。我们试图选择那些能帮助听众与音乐产生共鸣的歌名。以《Aurora》这首歌来说，我们希望它能给听众留下解读的空间，但同时又能引导他们的思考。从专辑的许多前序曲目到《Aurora》，这一首显然代表了一段漫长旅程的终结。专辑之前的听感充满了动荡与不安，仿佛有许多危险，我们通过那些厚重的音乐段落来传达这种感觉——但在专辑的结尾，你会感受到一种旅程在音乐中逐渐落幕的氛围。因此，通过选择“Aurora”这个名字，我们邀请人们去思考：如果他们想为这张专辑选择一个圆满的结局，他们可以想象探险家们看到了北极光，或许他们已经抵达了目的地，或者有些人幸存了下来。当然，还有一种解读方式是，当你在严寒中濒临死亡时，很多人会经常产生幻觉，而极光可能就是这种幻觉的一种表现。所以，对于每一首歌名，我们都希望邀请你与我们一起踏上这段旅程，同时也为你创造一个框架，让你能够在每首歌中赋予自己的意义。
Like Ed writes what it does really look beautifully and it is like sort of great music that takes you on a journey with every single song. And we tried to select song titles that help the listeners connect with the music. So, with a song like "Aurora," we wanted it to be open to interpretation but at the same time guide the listener's in the thinking. "Aurora" obviously represents the end of a long journey in a lot of the preceding tracks. The music is quite tempetuous, like there's a lot of peril, like that we could communicate with the heavier sections. But at the end of the album, there's this feeling of the journey coming to an end in the music. So, by choosing a name like "Aurora," we invite people to think about, if they want to choose a happy ending for the record, they can imagine that the adventurers are seeing the northern lights, perhaps they've reached their destination, or some of them have survived. Or, an alternative interpretation might be an idea that when you're dying of hypothermia, a lot of people regularly quite hallucinate, and the aurora might be a symptom of that. So, with each track name, we want to invite you to come on a journey with us but also create a framework for you to put your own meaning onto each track.
Freddie：没错，我认为这也正是后摇的魅力所在。因为后摇音乐往往没有人声歌词，而歌词原本是一种直接表达音乐意图的方式。我们的音乐是纯器乐的，所以有些东西就留给了听众去解读。也因此我们会试图通过音乐、歌名、舞台表现以及整张专辑的曲目安排，尽可能地将这段旅程传递给听众。
Yeah, I think that's the point of post-rock more wildly. Because it's obviously a genre often without vocals, and vocals can be a straightforward way to literally say what you want the music to mean. But we obviously don't do that on music. Because it's instrumental, some of it is up to interpretation. But yeah, we try to get this journey as much as possible across to the listener's mind through the music, through the song titles, through the staging, and through the whole track list thing.
UPEE：你们的两张专辑里也可以感受到很多重型音乐的元素，也有电影配乐一样的叙事感，跟传统的后摇有所不同。你们会怎么形容你们的创作？
Ed：我认为我们尝试着不使用传统后摇的结构，同时也以一种我们认为自然又有创造力的方式来推进曲目的进展。这大概就是我们所追求的。后摇的结构通常来说是从安静开始然后逐渐增强，我们正努力跳出这一传统的框架，同时保持着吸引力和创造力。
I think we try to avoid using traditional song structures, and instead progress the songs in ways that we feel natural but also creative at the same time. That's kind of what we're trying to do. Post-rock has a tradition of starting quietly and then building up, but we're trying to work outside of that traditional genre space and do things in ways that are still appealing and creative.
UPEE：与此同时，在你们的第一张专辑《Gap in the Clouds》中，也讲述了一位名为 Mia 的女士与阿兹海默症的故事。具有传记意味的“叙事专辑”是 Million Moons 的一个创作理念吗？
Ed：是的，这个实际上触动了我们所有人的心，尤其是这个特定的话题。在我们的第一张专辑中，我们就非常想写一写这样的故事。它不仅自己有意思，而且即使在其他不同流派的创作中也很少被触及。我们当时想：“这个话题贴近我们的内心，而且又不经常被写到，一定会是个有趣的主题。”然后，在第二张专辑中，我们明确地致力于创造这样的叙事；这是我们真正在努力做的事情。
目前，我们正在创作第三张专辑，而且已经确定了一个既相似又不同的主题。我们正在融入其中，这也让我们感到非常兴奋。
Yeah, it's something that's very close to all of our hearts, actually, and particularly that topic. It's something that in the first instance, for our first record, we quite wanted to write about, as well as being an interesting topic, which isn't often covered, even by other different genres. We thought, "This is something close to our hearts and also not commonly covered, it would be an interesting topic." And then, for our second record, we definitely aimed to create those narratives; that's something we're really trying to do. We're currently in the process of writing our third album, and we've got a theme that's somewhat similar but also different. We're going to apply to that, which is very exciting.
UPEE：你们可以分享你们创作一首曲目的过程吗，从想到概念再至将之在音乐里呈现，是如何完成的？
Freddie：（指着Ed）他包揽了一切。
(pointing Ed) He does everything.
Ed：不完全是这样的。我负责了大量的创作工作。通常，我们会从一个想要表达的主题开始。在这个主题下，我会思考一些不同的点子，然后我们一起讨论这些点子可能呈现的样子。接着，我们会尝试为这些点子谱写音乐。具体来说，在实践中，我会创作旋律、和声、节奏部分以及其他元素，试图将它们与这些概念紧密结合。所以，当最终作品呈现出来时，它是一张连贯的专辑。而实际的过程是，我通常会创作大约70%到80%的音乐。剩下的部分，比如鼓点、吉他部分、伴奏轨道、合成器音效等，我们会相互交流想法。然后，我们会把这些元素整合到小样中。完成小样后，我们会把它带到录音室，与制作人一起探讨，进行一些前期制作工作，包括录音和混音等环节，还有一些后期制作，最终制作出成品。
That's not quite true - I do a lot of the songwriting. Typically, we start with a theme that we're trying to write about. Within that theme, I think of different some things, we think of different some things together and what they may look like. Then we try to write music to that. What that actually looks like in practice, I'm writing melodies, harmonies, rhythm sections, and other elements to try and tie into each of those concepts. So, when it kinda comes out, it's one coherent record. An the actual process is that I usually write about 70 to 80% of the music. We bounce ideas off each other for the rest, like the drum parts, guitar parts, backing tracks, synthesizers, and things like that. Then, we bring it all together just in the demos. Once we've got back, we'll actually take that to the studio, and then bounce it off to producers, do a bit of pre-production, and also have recording and engineering sessions, and some post-preduction as well, before creating the final product.
Freddie：有时候这个过程也会不一样，比如在这次我们为新专辑制作的一些小样里。前两张专辑完全是由Ed和Solomon创作的，后来Jay和我加入，现在更像是一个四人协作的创作过程，但Ed仍然承担了大约80%的工作量。举个例子，我可能会给Ed发一段20秒的riff片段，说：“我觉得这个听起来挺不错的。”然后他会说确实不错，接着发给我一首他完全独立创作的7分钟长的歌曲。所以，这种方式真的能让我们的创意无限迸发。有时候，他会给我一个承诺，比如：“这就是这首歌的感觉，你能写一些对得上的东西吗？”而有时候，我只是弹一些听起来不错的旋律，甚至不告诉他那是什么。我们会看看彼此是否有相同的感受，而很多时候，我们的确会心有灵犀。
It can work the other way as well, sometimes. Like, for some of the demos we worked on for the new album. The first two albums were written entirely by Ed and So. Jay and I joined later on, and now it's more of a four-person writing process, but still 80% Ed does. For example, I might send Ed a 20-second clip of a riff that I thought "this sounds quite nice". And he said this sounds nice and then send me back a seven-minute-long song that he wrote entirely without reference. So you can really explode ideas. Sometimes, he gives me a promise like "This is the feeling of this song, can you write something that fits the feeling?" And sometimes, I'll just play something that sounds nice, and won't even tell him what it's about. We'll just see if we feel the same way about it, and often we do.
So：其实看到我们的创作方式随着成员增多也有演进是很不错的。同时，我和Ed在创作上变得更加熟练，对我们的声音探索产生了更多的兴趣。在过去的两张专辑中，我作为鼓手有很大的进步。在下一张专辑中，我也会负责很多programming，就像前两张专辑一样。我做了很多粗糙的鼓点小样，但当我们进入录音室时，我发现我准备的部分往往与Ed 所 program 的部分很不一样。我想上次这让我们的制作人惊讶了不少。这次，我会更多地参与到我们的MIDI Program里。
我认为随着我们更多地参与到这个过程里，也为我们所有人打开了更多的创意可能性。而且，Ed对于我们如何在接下来的这张专辑中发展我们的声音有一些非常有趣的想法。我也真的很期待看到最后几个小样是如何融合在一起的。
It's nice seeing how the songwriting approach has evolved as we've invited more members into the group. Also, as Ed and I have become more copetent and so more interested in more like exploration within our sounds. I've certainly progressed quite a lot as the drummer over the past two records. And the next record as well, I've been doing a lot of the programming, just like with the first two records. I did a lot of the rough drum demos, but then when we got into the studio, the parts I prepared were often quite different from what Ed programmed. I think I got the vibes that our producers were surprised by some of that last time. So this time, I'm getting a lot more involved with the programming of the MIDI. I think it's opening up creative possibilities for all of us as we become more involved in that. And yeah, Ed has some really interesting ideas about how we can evolve our sound in the next albums. I'm really looking forward to seeing how the last few demos come together.
UPEE：我们刚刚有提到不少在概念或者音乐层面的关于新专辑的内容，是否可以在此给乐迷一些关于新作的暗示呢？
Ed：目前这个阶段我们不便透露太多，而且就像我们之前提到的，新专辑某种程度上探索了我们所处世界的环境的复杂性，以及我们与这些环境因素之间的关系，这种探索贯穿了进化的过程与历史，甚至延伸到了当下。这是否是我们在说的关于专辑“概念”的东西？
Well, as we can't say too much at this stage, and as we kind of mentioned in the interview, it is kind of explores the envrionmental complexities of our world, as well as our relationship to those, through the process and history of evolution, extending beyond the present day. Is that the kind of theme we're talking about?
So：从音乐层面来说，我觉得在乐器运用上，这张专辑会更具创意，也更加开阔。以往我们的音乐也很有创意，但这次我们增加了更多乐器。有些曲目将电吉他和原声吉他融合在同一首作品中，也有一些更有趣地用了合成器、音序器，尝试了一些新的音色和质感，还有的甚至可能加入了一些铜管或木管乐器。而且，我觉得在某些地方，这张专辑会更有前卫感。我们用了一些之前从未使用过的新节拍。所以总体而言，我认为这张专辑可能会比我们的前两张更具前卫性。
我觉得这真的很令人兴奋，因为尽管加入了这些元素，它听起来依然非常容易让人接受。我们所做的一切都源于音乐中的动机。如果我们要引入一个新创意，那一定是因为音乐本身需要它。
Musically, I'd say it's been a bit more creative in terms of instrumentation, with a more expansive approach. It was always creative, but we've added more instruments. There are tracks that integrate both electronic and acoustic guitars in the same piece. There are more interesting use of synthesizers, operators, and some new sounds and textures, maybe even some brass or woodwind in there. And, I think in some places, it's a bit more progressive. There are some new time signatures that we haven't used in past records. So, overall, I think it'll probably turn out to be a bit more progressive than our second or first record. And I think that's really exciting because, in spite of all these elements, it still sounds very accessible. Everything we do is motivated by the motifs within the music. If there's any reason for introducing a new idea, it's because the music calls for it.
UPEE：你们在创作时想到的概念与形象会影响你们在音乐层面的声音使用吗？它是如何影响的？
So：关于概念，我想说我们会有一个初步的构思，但就像创作过程中常见的那样，一切都可能会发生变化。所以在录音室里，我们往往会比较早地录制鼓的部分。在空闲时间里，当吉他和各个声部正在完善时，我通常会听听整体效果，考虑哪些段落可能需要调整——因为在录音室里，很多东西都可能会有较大的改动。现在很难具体谈论这个主题的细节，因为我们需要保留灵活性，以便在录音室里根据实际情况做出调整。
On the concept I would say we have a working concept, but as is usually part of the process, everything is always subject to change. So in the studio, we tend to track the drums quite earlier. In my spare time - while the guitars and layers are being finished - I'll usually listen to how everything's sounding and consider what track might need changing like things to change quite significantly in the studio. It's hard to speak too much to this specific of the theme because like we need the flexibility to change it if we decide to in the studio.
Freddie：有时候，当你听到一个小样被完整下来后，它会突然好像变得厚重很多，或者更加宏大。也有时候，你就会有那种感觉——“对，我们要把这个段落做到极致，它一定会非常好，但是（结果不尽人意）。”
Sometimes, a demo can suddenly become so much heavier or so much more expansive once you hear it properly recorded. And sometimes, you just gonna "right, we're gonna absolutely kill this section. This is gonna get huge, but…" (stopped)
UPEE：在许多乐迷眼中，文本相对 musciality 来说并不具有太多意味。而这两张专辑中，Million Moons 都让人感受到了你们的表达欲。就你们的创作而言，你们觉得“叙事”对于器乐音乐专辑来说具有什么意义？
So：我想说从我们第一张专辑开始，我就一直对“叙事”以及它的重要性有着强烈的感受。没有叙事的纯器乐当然可以很棒——毕竟有很多乐队并不需要制作概念专辑，那些作品就像歌曲合集。但一旦加入了叙事，你就能为音乐增添一层意义。所以我认为不采用概念专辑的形式几乎等同于错失一个机会，为艺术作品注入新层次、让听众以全新方式产生共鸣的机会。我相信，你给予听众越多在音乐中探寻深层意义的机会，作品就越好。
I mean I've had quite strong feeling about having a narrative and its importance, since our first record. Without a narrative, instrumental music is still great - there're lots of bands that don't really need to do concept records. But they are just collections of songs. And by having a narrative, you can add an extra layer of meaning. So, I think not to have a concept is almost a missed opportunity, because it's that chance to bring a new layer to the arts, that people can connect with it in new ways. I believe the more opportunities you give listeners to find deeper meaning in the music, the better.
Freddie：我怀疑很多更出名的后摇专辑并不算是真的概念专辑，我觉得我们在这一点更有表达欲。我的意思是，像 Godspeed You! Black Emperor 的一些专辑，还有 Explosions in the Sky 的《First Breath After Coma》（来自专辑《The Earth Is Not a Cold Dead Place》，UPEE 注）——这些无疑都是概念专辑，所有歌曲都在主题上有相互关联的。叙事性本身或许并不新鲜，但对我们来说，将其置于音乐创作的核心位置绝对是必要的。你觉得呢？（问 Ed）
I suspect a lot of the kind of the more famous post-rock albums are probably fake concept albums as well. I think we're way more expressive with it. I mean, some of Godspeed You! Black Emperor's albums are surely conceptual, Explosions in the Sky's First Breath After Coma (from "The Earth Is Not a Cold Dead Place") - That's probably a concept album. It seems like all the songs are thematically linked. So, the narrative thing is not necessarily new, but it's definitely a need for us to place that at the forefront of our music. Would you agree with that? (asking Ed)
So：没错，有其他乐队也在做类似的事情。比如伦敦的 Mountain Caller，他们甚至更进一步——不仅为每张专辑设定概念，还创造了一个贯穿各专辑的标志性角色，让每张专辑都仿佛成为一段宏大旅程中的一个阶段，这很有趣。还有像 Coheed and Cambria，他们的每张专辑都是基于制作人 Claudio Sancherz 创作的图像小说。这样的例子还有很多。叙事确实是一个非常有用的工具，特别是对于纯器乐的创作者来说——当没有歌词作为表达载体时，你就得寻找其他方式来传递音乐的内涵。
Yeah, there are other bands that do similar things. There's a band in London called Mountain Caller who take it even a step further - they don't just have a concept for each album, but they also develop a recurring character that ties the records together, so each album feels like a stage in a larger journey, which I think that's really interesting. Then there are bands like Coheed and Cambria, where every album they release is based on graphic novels by Claudio Sancherz the producer. So, there are plenty of examples of this. It's a really useful tool, especially for instrumental music writers—when you don't have lyrics, you need to find other ways to communicate meaning.
《I May Be Some Time》专辑视觉
UPEE：包括《I May Be Some Time》的专辑封面视觉以及几支单曲的封面视觉，都似乎与 Lawrence Oates 的故事相关，可以分享关于这些封面、专辑相关视觉的故事吗？
So：那些都是真实的库存图片。像 Lawrence以及 Shackleton 的一些探险活动，好的一点在于他们都带上了摄影师来记录一切。我们委托了一位非常有才华的艺术家——Herm, the Younger——来帮忙设计专辑封面。这张专辑是用Photoshop合成的；所有照片都来自那些探险活动，是真实的图片，但它们被Ps在了一起，创造出了新的画面，之后还进行了艺术化处理。所以，专辑封面设计中的所有元素都基于真实的事物，来自历史上前往南极洲探险的真实场景。（Freddie：是Frank Hurley拍的吧？）对，Frank Hurley就是拍摄了所有这些照片的摄影师。而且，由于这些照片都是100多年前拍摄的，现在已经进入了公有领域。（Freddie：所以我们可以免费用！）我想到了翻阅旧库存影像资料的想法，然后找到了这些与专辑封面设计非常契合的图片。它们真的很美。当然，我觉得这也得归功于 Herm。
Those are all real stock images. The nice thing about expeditions like Lawrence's and some of Shackleton's is that they took photographers with them to document everything. We commissioned a really talented artist - named, Herm, the Younger - to help with the album art. Actually, the front cover of the album is a composite image as well. It's Photoshopped; all the photos are real images from those expeditions, but they’ve been Photoshopped together to create a new image and then treated artistically. So, everything in the artwork is based on real things - real scenes from historical expeditions to Antarctica. (Freddie: Frank Hurley, isn't it?) Yeah, Frank Hurley was the photographer who took all those photos. And since they happened more than 100 years ago, they're in the public domain. (Freddie: So we can use them!) I came up with the idea to go through old stock footage and found these images that connected really nicely with the album art. It's really beautiful. So, yeah, I think Herm has to be credited for that.
UPEE：在收听时，有许多乐迷已经开始期待你们的现场演出。现场演出和平时的录音、排练会给你们带来什么不一样的感觉吗？
Jay：我觉得我们录音室作品的音乐能量有很强的起伏变化，而我们希望通过自己的现场表演来传递这种能量，所以我们喜欢利用舞台来展现这种能量，并带动观众一起沉浸其中。我想，这其实也是我们自己全身心投入音乐，让音乐的能量带动我们的过程。我知道Ed从现场演出中收获很多——你从他的脸上就能看出来——我也希望明天的观众也能感受到这种能量。
I think there's a lot of ebb and flow of energy in recorded music. And I think we want to relay that through our own live performances as well. So we like to use the stage to bring that energy and help draw the crowd in with it. I guess it's about getting lost in the music ourselves and just letting the energy of the music drive us. I know Ed gets a lot out of playing live - you can see it on his face a lot - and I hope the crowd tomorrow will feel that energy as well.
Ed：对，现场表演时，这些表情和动作都会很多。我是说，音乐本身就充满了能量和动感，我们也会尽量在舞台上表现出来。然后，我们对每一场演出都会付出百分之百的努力。甚至在排练试音的时候也会全力以赴，确保一切都是极致，真的是全身心地投入音乐之中。我已经迫不及待想迎接明天的演出了，一定会很棒的。
Yes, there are a lot of facial expressions that get pulled. And a lot of movement - I mean, the music itself has a lot of energy and movement, and we try to match that on stage. Then, we put 100% effort into every single show. Even during our soundchecks, we give it 110% to make sure everything is absolutely super. But yeah, we really live and breathe the music when we're performing live. I can't wait for tomorrow. It's gonna be great.
Freddie：有一个叫 Ripcord Records 的厂牌，老板是 Charlene。她大概一周前在格拉斯哥来看了我们的演出。我们都很喜欢 Charlene。她对我们音乐的评价是，安静的部分更安静，而响的部分则更响了。我觉得我们的音乐动态变化更大了，这在一定程度上也和我们的情绪有关。显然，当我们演奏那些节奏更重的部分时，我们会更兴奋，所以会全力以赴。你到时候会看到我和Jay在台上四处走动。而在那些安静的部分，尤其是在像《Aurora》这样的慢歌里——我不知道你能不能体会到这种感觉，但我突然会觉得和音乐紧密相连。我可以闭着眼睛演奏那些部分，就站在那里让音乐把我包围。开玩笑，我会看着我的吉他的。
There's a record label called Record Records, run by Charlene. Charlene came and saw us about a week ago in Glasgow. We love Charlene. Her review of our sound was that the quiet parts were quieter, and the loud parts were really louder. So, I think we’ve got more of a dynamic shift, which is partly due to how we’re feeling. Obviously, we’re more excited when we’re playing the heavier parts, so we really go for it. I mean, you'll see Jay and me moving all over the place when we play. And the quieter parts - you know, especially in slower songs like 'Aurora,' for example - I don’t know if you get this, but I suddenly feel very connected to the music. I can play those but to my eyes closed, just standing there and letting it wash over - I won't. I'll look at my guitar.
UPEE：所以如果用一个词来形容 Million Moons 的现场，会是哪个词？
Freddie：“激情的”可以吗？
Is passionate the right word?
Jay：我喜欢“激情的”这个词——还有“动人”，由我们去打动。（成员们赞同）
I like passionate - Moving, let's go move it! (Members agree)
Ed：很难只用一个词来概括，我觉得像“有力量的”、“氛围感”、“动人的”这些词都合适……我们希望人们能被我们的表演所打动。
It's hard to put one word to it，but I think all of the different words like, powerful, atmospheric, moving (can fit)...... We want people to be moved.
UPEE：本次越位音乐节是你们第一次来到中国演出，对此有什么期待?
MM：我们非常兴奋。
[Members] Oh we're very excited.
Ed：我们真的超级兴奋。我们的试音效果特别好，舞台也很棒——我们听了另一支乐队的试音，简直太棒了。希望我们的现场演出能像试音时一样出色。
这次的团队真的帮了我们很多——越位的工作人员、音响工程师，每个人都非常给力。在试音过程中，他们帮我们处理了所有细节问题，非常有帮助，我们也特别感激他们。还有，我们很期待看看中国观众对我们音乐的看法，我们迫不及待地想和尽可能多的粉丝交流，不仅聊我们的音乐，也聊聊其他乐队，和大家打成一片。
We're very, very excited. Our soundcheck was really good. The stage is great - we listened to another band soundchecking, and it's amazing. Hopefully, our live performance will sound just as good as our soundcheck did. But yeah, the team has been super helpful - the Offside team, the sound engineers, everyone. Working through all the little details during soundcheck has been really helpful, and we're very grateful to them. So, we're interested to see what the Chinese crowd thinks of our music. We can't wait to speak to as many fans as possible, not just about our music but also about other bands as well, and just mingle with everyone.
UPEE：除了在越位之外，这也是你们第一次来到中国演出，对中国有什么期待吗，无论是想要去的城市，或者想要吃的食物？
Ed：非常期待……各个方面。对我们来说，来参加越位音乐节也是体验这些的一部分。昨天我们过得特别棒，越位的团队给我们安排了一些文化和美食的体验，超级有趣，也感觉特别好。所以我们真的特别希望以后还能有机会再来，不管是回来参加另一场演出，还是未来的越位，或者是其他巡演——我们肯定都特别乐意。我们会看看周六演出大家的反应如何，然后再做这些。
We're really really looking forward to seeing um ... both. Some of the cultural side and also the food side as well, and that's part of the experience for us for coming to Offside. And we had a really good day yesterday, organized by the offside team where we got some cultural experiences and some culinary experiences too, which was super fun and just really nice. So, we're really really hoping to do that like that again in the future, whether it's coming back for another performance, a future Offside festival, or indeed another tour - which we'll be super keen to do that. We'll see how the response is to our show on Saturday, and we'll take it from there.
So：显然，有这么多远在异国他乡的人支持我们的音乐，这让我们感到特别荣幸。能被邀请来这里演出，对我们来说真的是一种荣誉。我们想着能好好演，让大家都为我们感到骄傲。
Obviously, it's very humbling to have people so far away from our home backing our music. And just the fact that booking us to come here is such an honor for us, really. We're just looking forward to going out there and making everyone proud.
Freddie：我觉得，对于一个我们从来没去过的国家，真的很难有什么具体的期待。所以，基本上一切对我们来说都是惊喜——好的惊喜。我们在这里受到了特别好的款待，遇到的每个人都特别友善。我们肯定特别想再来，这点我敢确定。而且，就是这一切都让人特别兴奋——你知道，我们平时不常看中国的社交媒体，微博或者小红书之类的。所以，看到那些平台上有人在讨论 Million Moons，真的让我们觉得特别荣幸，也觉得特别……怎么说，就是特别疯狂。（Jay：太疯狂了！）
I think it's hard to have expectations about a country we've never been to. So, everything is basically being a surprise - a good surprise. We've been treated so well; everyone we've met has been lovely. We're so keen to come back, I'm sure. And, I mean, just the excitement of it all - like, we don't often access Chinese social media websites, you know, like Weibo or Rednote in the West. So, seeing people talk about Million Moons on those platforms was really humbling and, you know, yeah - just completely wild. (Jay: Bonkers!) Yeah.
Jay：感觉这一切都像是一场梦，不过我相信，等我们回到家，从演出的兴奋中缓过神来，我们就能好好总结一下，然后想：“好吧，挺酷的，接下来要做什么呢？”但现在，我们就顺其自然，明天尽全力把演出做到最好。希望，就像 So 说的，能让大家都为我们感到骄傲。
It all feels like a bed of dreams, but I'm sure when we get home and come down from the high of performing, we'll be able to take stock and think, 'Okay, cool, what's next?'- But right now, we're just going with it and putting on the best show we possibly can tomorrow. Hopefully, like So says make everyone proud.