Palimpsest | 行间

一首充满童真却直指现实的歌曲，用孩子的好奇目光，追问门、钥匙与规则背后的秘密。从财富与阶层，到时间、自由与边界，每一个简单的问题，都在叩问这个世界为何有那么多门，将人们隔开。或许，真正重要的不是谁拥有钥匙，而是：如果我们打开一扇门，你愿意走进来吗？

A playful yet thought-provoking song that sees the grown-up world through a child’s curious eyes. With questions about doors, keys, rules, wealth, time, and freedom, it gently challenges the invisible walls that divide us. Perhaps the real question isn’t who holds the key, but this: if we leave a door open, will you come in?

一南 | Yinan

一首温暖而亲密的 Bossa Nova 小品，探索身体、外貌、基因与“我是谁”这个看似简单却深奥的问题。

肤色为什么不同？为什么每个人的眼睛、头发和脸都不一样？为什么我们有五根手指，而不是四根或六根？身体不断成长和变化之后，究竟什么才是真正的“我”？

旋律保持孩子般的好奇与幽默；简单反复的副歌像一个温柔的发现：我们拥有不同的肤色、脸庞、头发和名字，却共享着相似的身体、情感和生命体验。

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ME is a warm, intimate bossa nova song built around a child’s endless curiosity about the human body—and the much bigger question of what makes us who we are.

Why is skin different? Why do eyes and hair come in so many shapes and colors? Why do we have five fingers instead of four or six? And when our bodies keep growing and changing, what part of us is still the same “me”?

Nylon guitar, upright bass, brushes, soft piano, and a gentle clarinet create a light, intimate atmosphere with a touch of French jazz and swing. The melody stays curious rather than sentimental, while the simple, memorable chorus—“This is me. This is you.”—turns the song into a quiet celebration of human difference and connection.

Different skin, different faces, different names, different ways of saying hello—yet beneath the surface, we share warm bones, red blood, beating hearts, hunger, laughter, tears, and the strange miracle of being alive.

The song ends with one last wonderfully unanswered question: why five fingers? A child’s laugh suggests that perhaps five was simply enough.

A playful little song about bodies, identity, difference, and the mystery of being one unique person among billions.

一南 | Yinan

以孩子的视角追问宇宙的边界

波萨诺瓦的轻盈感与童真的宇宙好奇心结合在一起。

概念专辑的第三曲《WHERE?》 是一首带有法式爵士气息的梦幻波萨诺瓦歌曲。歌曲从一个孩子的视角出发：为什么月亮总是跟着“我”？宇宙有没有尽头？星星会不会孤独？如果宇宙之外什么都没有，那么“外面”又在哪里？

“WHERE?” is a dreamy bossa nova song with a touch of French jazz, told through the innocent and endlessly curious eyes of a child. Why does the moon follow me? Where does the sky begin and end? Do stars sleep? Can the universe have an edge? And if there is nothing outside the universe, where could “outside” possibly be?

一南 | Yinan

如果Track 01.《Alive》是孩子第一次发现“我在这里”，那么概念专辑的第二曲《Gone》是他第一次发现：

有些东西不在了。

昨天还在的花，今天为什么不见了？
刚刚还在笑的人，为什么突然安静了？
一只鸟飞走以后，它还算在这里吗？

歌曲里的“Gone”不断重复，像脚步，也像记忆的回声。

孩子不明白：

如果一个东西已经消失了，
它究竟去了哪里？

If “Alive” is the child's first discovery that “I am here,” then “Gone” is the moment he discovers something else:

Some things are not here anymore.

Why was the flower here yesterday,
but gone today?

Why was someone laughing a moment ago,
and now the room is quiet?

When a bird flies away,
is it still here somewhere?

If I close my eyes,
are you still there?

The child meets disappearance for the first time, but he does not yet know what it means.

So he keeps asking:

Where did it go?
Where did she go?
Where did the summer go?
Where did all the voices go?

“Gone” is not simply a song about death.

It is also about time, memory, growing up, and all the things the world quietly takes away from us.

An old toy.
A photograph.
An empty room.
Someone who does not come back.
Even a childhood that slowly disappears without saying goodbye.

The word “Gone” keeps returning like footsteps, like a memory trying to come back.

Gone, gone.
Gone, gone.

But the child still does not understand:

If something is gone,

where does it go?

一南 | Yinan

Little questions about life, death, numbers, plants, people and the stars.

概念专辑简介

孩子站在这个世界面前，认真地问一些大人早已习以为常的事情：

谁告诉河流应该往哪里流？
为什么有些门总是有人可以进去，有人却只能站在外面？

孩子不知道钱为什么一定要存在，为什么人必须工作，为什么有人可以拥有很多，而有人什么也没有；他们也不知道国界、规则、权力、阶级、战争和秩序为什么被认为是“正常”的。

而正是这些天真的问题，让这个看似熟悉的世界突然变得陌生。

在这张专辑里，荒诞、童趣、幽默和忧伤交织在一起。

孩子的声音很轻，却不断碰到一些很重的东西。

也许，当我们重新用孩子的眼睛看这个世界，我们才会发现：很多我们称之为“现实”的东西，最初也许只是某个人曾经规定下来的一个规则。

而一个孩子最珍贵的能力，也许就是还没有忘记问：

Why?

This is an album about asking questions.

A group of children stand in front of the world and ask about the things grown-ups have stopped questioning:

Who tells the river where to go?
Why are some doors open for some people, but closed for others?

Children do not know which questions they are “not supposed” to ask.

They do not know why money must exist, why people must work, why some people can have so much while others have so little. They do not know why borders, rules, power, class, war, and order are simply called “normal.”

So they ask.

And somehow, these innocent questions make the familiar world strange again.

On this album, the moon might have to pay rent. The sun might have a boss. A river might need a passport. The stars might have been put in the wrong pocket.

The songs move between wonder, absurdity, humor, sadness, and quiet rebellion. The voice of a child is small, but the questions keep touching very heavy things.

These songs do not give answers.

They are a collection of questions that grown-ups may have forgotten how to hear.

Perhaps when we look at the world through a child's eyes again, we begin to notice that many of the things we call “reality” were once just rules that somebody decided to make.

And perhaps the most precious thing a child can do is simply to remember how to ask:

Why?

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《Alive》是这张专辑的第一声提问。

它是一首轻盈而富有哲思的波萨诺瓦小品。

鱼儿知道自己生活在水里吗？鸟儿会害怕坠落吗？蚂蚁知道自己很小吗？树知道秋天来了吗？

歌曲从孩子般的好奇出发，不断追问动物、植物、人类与世界是否意识到自己的存在。问题看似简单，却慢慢通向一个古老而辽阔的谜题：为什么会有“存在”，而不是一无所有？

副歌没有给出答案，只用轻快的 ba-da-da 和 la-di-da 唱着 Alive。也许鱼儿根本不需要知道自己是鱼儿，花只需要开放，树只需要生长，而鲸鱼只需要歌唱。

最终，所有问题都安静下来。
鱼在游，鸟在飞，蚂蚁回家，树一言不发。

“Alive” is a light, playful bossa nova song that turns simple questions into a gentle meditation on existence. Nylon guitar, upright bass, brushed drums, soft piano, and a mischievous clarinet create the atmosphere of a quiet French café on a sunny afternoon.

Does a fish know it is in water? Does a bird get scared when it falls? Does an ant know it is tiny? Does a tree know when autumn comes?

The song keeps asking questions that sound almost childlike, yet gradually open into something much bigger: animals, plants, home, identity, consciousness, and the strange mystery of simply being alive.

The chorus offers no answer. Instead, it dances around the word “Alive” with playful syllables and scat-like melodies. Perhaps the fish does not need to know it is a fish. Perhaps the flower simply opens, the tree simply grows, and the whale simply sings.

And maybe we are the ones who keep asking what it all means.

In the end, the questions become very quiet:

The fish swims.
The bird flies.
The ant walks home.
The tree says nothing.

一南 | Yinan

《闲散颂》是整张专辑的同名曲，也是献给所有这些人的一首尾声之歌。它赞美那些没有被工作、效率和职业身份占据的时间——一个下午、一顿饭、一本书、一段漫无目的的散步。
当人们问“你今天做了什么？”我们也许可以回答：“没有太多。”因为有些时间没有产出，却真正属于我们；有些生活无法写进简历，却值得被认真地活过。

“In Praise of Idleness” is the title track and the closing song of the album, dedicated to all the people we have met along the way. It does not praise laziness, but the hours that are not owned by work, productivity, or professional identity—a long afternoon, a meal, a book, a walk with nowhere to go.
When people ask, “What did you do today?”, perhaps we can simply say, “Not much.” Some hours produce nothing, yet belong completely to us. Some parts of life never make it onto a CV, but are still worth living.

一南 | Yinan

Clive 不喜欢回答“你是做什么的？”这个问题，因为在这个问题背后，往往藏着对一个人价值的判断。他有时用玩笑来回答，有时只说：“As little harm as possible.”——尽可能少造成伤害。
《Clive》写的是一个人如何用幽默拒绝被定义：当别人急着知道你的职业、身份和社会位置，他只想轻轻地说一句，也许什么都不做，也是一种生活。

Clive does not like the question, “What do you do?”, because behind it often comes a judgement about what a person is worth. Sometimes he answers with a joke. Sometimes he simply says, “As little harm as possible.”
“Clive” is about using humour to refuse a definition. When people want to know your job, your status, your place in the world, Clive gently asks another question: perhaps doing very little can also be a way of living.

一南 | Yinan

Adam 曾是一名投入度极高的程序员，长时间沉浸在代码和工作之中，后来他离开了这条职业轨道，去了日本做兼职英语教师，只保留少量自由职业的编程工作。
《Adam》写的是一次生活节奏的改变——从不断向前、不断工作，到终于允许自己慢下来；他没有放弃自己的能力，只是不再让工作决定一天应该怎样度过。

Adam was once a highly committed computer programmer, spending long hours absorbed in code and work. He eventually left that career path and moved to Japan, where he taught English part-time and kept only a little freelance programming.
“Adam” is about changing the rhythm of a life—from always moving, always working, to finally allowing himself to slow down. He did not give up what he could do; he simply stopped letting work decide how his days should be lived.

一南 | Yinan

Jack 是一名图书管理员，他把工作时间缩短到每天大约四个小时，只为了给阅读、交谈和写作留下更多时间。对他来说，这并不是逃离生活，而是第一次看清自己曾经深信不疑的生活规则——工作并不是人生唯一的中心。
《Jack》写的是那个醒来的瞬间：当一个人终于发现，原来没有什么“必须如此”的人生，而一个空出来的下午，也可以成为真正属于自己的时间。

Jack is a librarian who reduced his working hours to around four a day, leaving more time for reading, conversation, and writing. For him, it was not an escape from life, but a moment of waking up to an idea he had always taken for granted: work does not have to be the centre of everything.
“Jack” is about that moment of waking up—the discovery that there is no single way a life has to be lived, and that an empty afternoon can be something truly your own.

一南 | Yinan

Matthew 学过哲学，也曾认真寻找过工作，却始终不太愿意把自己交给一份职业。他喜欢写作、思考，也喜欢那些没有明确目的的时间；当别人问起“你是做什么的”，一句“我失业了”常常比“我是作家”更容易说出口。
《Matthew》写的是一个年轻人如何在“不工作”的状态里，慢慢找到自己的生活——自由是真实的，经济上的不安也同样真实，而他仍愿意把明天留给自己。

Matthew studied philosophy and looked for work, but he never felt ready to give his life to a career. He liked writing, thinking, and having time with no clear purpose. When people asked, “What do you do?”, saying “I’m unemployed” was sometimes easier than calling himself a writer.
“Matthew” is about a young man trying to build a life outside work—a life with real freedom, but also real financial fear, and still choosing to leave tomorrow open for himself.

一南 | Yinan