Jesse & Klosing

Jesse：請跟我們分享創立「Evaporate 蒸發」的初衷或契機？希望「廠牌發行」在臺灣House或更廣義電子音樂場景中，帶來什麼改變或目標？

Kloisng：我們在疫情初期創立「Evaporate 蒸發」。當時因為在越南Epizode被極簡化的House風格深深吸引，臺灣當時只有少數同好，於是我們決定創立一個派對系列，特別聚焦在我們喜歡的音樂風格。隨著疫情結束，我們在台灣推廣這類風格時也遇到瓶頸，便決定把目光轉向國際市場，進一步成立音樂發行廠牌，積極建立與其他國家和地區的連結。「發行廠牌」對臺灣目前的電子音樂場景在短期內或許影響有限，可能只會讓人知道「臺灣有這樣一個發行的廠牌」。但我期待能有拋磚引玉的效果。現在多數人還是著重於DJ演出、邀請國際藝人或舉辦派對，這些當然很好，不過它們偏向「點」的存在，是一天或一個週末的事件。而發行則更像是「線」，你隨時可以在Spotify或Apple Music聽見它，讓它更貼近生活。若兩者能結合，就有機會形成「面」，讓廠牌的理念與知名度更完整地傳遞出去。我們希望未來有更多來自臺灣、擁有不同風格的廠牌能在國際間發光發熱。目標是讓更多人關注我們所專注的曲風，發掘它的趣味與美感。我們也努力將中文文化融入其中，例如與南京製作人77Mushrooms合作的《DDD》，改編自李玟的《Di Da Di》，或是我們成員Koliseum 取樣電影《讓子彈飛》的台詞所創作的《Let The Bullets Fly》。

Jesse：「Evaporate 蒸發」在發行作品與派對策劃中，經常與國外音樂人合作，你們如何搭起這些連結？有沒有讓你們感受到「跨文化共鳴」的合作經驗可以分享？

Kloisng：其實與音樂人建立連結並不困難。你只要聽到一首喜歡的歌，找到對方的SoundCloud或 Instagram，傳訊告訴他你很欣賞他的作品，大多數地下音樂人都會很開心。當他們知道我們來自東方、來自臺灣時，往往會感到好奇：「為什麼我的音樂會在臺灣被喜歡呢？」這就是初步的連結。隨著 「Evaporate 蒸發」逐漸進入國際視野，越來越多人開始了解我們的風格、設計與企劃。我們也更容易以廠牌履歷去與自己喜歡的國際音樂人提案合作。由於這類曲風的小眾性，各地發展Minimal的挑戰本質上是相通的，這也促成了我們之間的共鳴。我們會交流困境、交換各自的經驗與突破方式，這些累積起來的情誼非常珍貴，也讓我們在世界各地都有朋友能見上一面。像是我去年在布達佩斯與音樂媒體DoubleTrouble合作，在布達城堡錄製了一支 set；也曾在柏林的Golden Gate放歌，終於與許多長期在線上交流的朋友們面對面碰上。

Jesse： 你會怎麼定義 「Evaporate 蒸發」的聲音美學？你覺得臺灣的聽眾可以如何與這樣的聲音（音樂風格）互動？

Kloisng：極簡、克制、律動、智能與流動，是我們追求的聲音特質。這些詞語雖抽象，卻是Minimal曲風的精髓所在。Minimal並不「簡單」，反而更講究細節的堆疊與聲音的安排。它的情緒起伏往往不是依靠強烈的drop，而是透過持續推進的段落構成，這也正是我們希望臺灣聽眾能慢慢體會的聽覺層次。它克制但耐聽，適合在各種場域中存在：俱樂部、音樂季或是辦公室、野餐、時尚、藝術展覽⋯等，它既能隨之起舞，也能在腦海中慢慢流動。

Jesse：「Evaporate 蒸發」第一張黑膠形式發行的EP也將會在潮電上架，聊聊實體黑膠對你的意義？

Kloisng：實體發行一直是製作人與廠牌的重要里程碑。沒有人會因為虧錢而製作唱片，唱片發行必須是夠好的作品，才有實體化的機會。現在這樣的觀念仍存在，黑膠對我們而言，就是音樂品質的一種認可。它象徵這首歌值得被收藏、被播放於某個舞池之中，也象徵著「Evaporate 蒸發」的聲音被更多digger發現，從而接觸到我們廠牌的更多面向。

Jesse： 你並非全職音樂人，卻長期投入廠牌與派對策劃。這樣的身份轉換是否讓你更貼近「現實中的音樂愛好者」？你們怎麼理解在臺灣這樣的場景中，身為業餘者的堅持與自由？

Kloisng：我平時是上班族，下班後時間與精力有限，但也因為不需靠音樂維生，反而讓我能保有自由，不必遷就市場、不必迎合潮流。一旦想通這點後，你只需要去探索自己真正喜歡的音樂。推廣「曲風」從來不是短期的事，可能需要多年的耕耘。保持耐心才是關鍵，也不需要因為市場冷淡而放棄自己熱愛的聲音領域。

Jesse: Could you share with us the original motivation or turning point that led to the creation of “Evaporate”? What kind of change or goal do you hope your label's releases will bring to the House scene in Taiwan or to the broader electronic music landscape?

Kloisng: We started Evaporate during the early days of the pandemic, after being drawn to the stripped-back House sound we experienced at Epizode in Vietnam. That vibe was rare in Taiwan, so we launched a party series centered around the music we love.Post-pandemic, pushing this sound locally hit some limits so we looked outward and launched the label, aiming to connect with the global underground. We know a label alone won’t change the scene overnight. But while parties are fleeting moments, releases live on they’re always there, on Spotify, Apple Music, woven into everyday life. Our hope? That more labels from Taiwan emerge with distinct sounds and global presence. We want to spotlight the groove and soul in this music and reflect our culture too. You’ll hear it in our release DDD with Nanjing’s 77Mushrooms, flipping CoCo Lee’s Di Da Di, or Koliseum’s Let The Bullets Fly, sampling a classic Chinese film line. It’s about planting seeds, building a deeper rhythm.

Jesse: Evaporate often collaborates with international artists through both releases and party curation. How do you build these connections? Are there any memorable moments where you truly felt a sense of cross-cultural resonance that you'd like to share?

Kloisng: Building connections with artists isn’t actually that hard. When we hear a track we love, we just reach out via SoundCloud, Instagram, wherever and let the artist know we appreciate their work. Most underground producers are happy to hear that. And when they find out we’re from Taiwan, there’s often this moment of surprise: “Wait, people in Taiwan are into my music?” That’s usually where the connection starts. As Evaporate has grown and gained visibility, more people understand our sound, our design, and our vision. It’s now easier to approach international artists we admire, backed by our label’s track record. Because minimal sounds are still niche worldwide, the challenges of developing a scene are often shared and that creates a kind of resonance. We talk about obstacles, share solutions, and those exchanges build lasting friendships. It’s meaningful.

Last year, I collaborated with music platform DoubleTrouble in Budapest and recorded a set inside Buda Castle. I also played at Golden Gate in Berlin, finally meeting people we’d only connected with online. Moments like that make the whole journey feel real.

Jesse: How would you define the sound aesthetic of “Evaporate”? In your view, how can listeners in Taiwan engage or interact with this kind of sound and musical style?

Kloisng: Minimal, restrained, groovy, intelligent, and fluid; these are the sonic qualities we strive for. They may sound abstract, but they capture the essence of the minimal sound we love. Minimal isn’t “simple.” On the contrary, it’s about layering subtle details and carefully arranging sound. Its emotional arc doesn’t rely on dramatic drops, but unfolds gradually through continuous progression.

This is the kind of listening experience we hope audiences in Taiwan can grow to appreciate, its quiet intensity, its depth beneath the surface. It’s a restrained yet deeply listenable sound, suitable for all kinds of settings: clubs, festivals, offices, picnics, fashion runways, art spaces... It can move your body or quietly flow through your mind.

Jesse: Evaporate’s first EP on vinyl will soon be available at 潮電 Bar&RecordStore. Could you share what releasing music on vinyl means to you personally?

Kloisng: A physical release has always been a major milestone for both producers and labels. No one presses vinyl just to lose money if it’s going to be a record, the music has to be good enough. That mindset still holds true today. For us, vinyl is a mark of quality. It means the track deserves to be collected, played in someone’s set, and shared in a real dancefloor moment. It also signals that Evaporate’s sound is reaching more diggers opening the door for them to explore the full spectrum of what we do as a label.

Jesse: You’re not a full-time musician, yet you’ve long been dedicated to running a label and organizing parties. Do you feel that this dual identity brings you closer to the perspective of “everyday music lovers”? In the context of Taiwan’s scene, how do you understand the persistence and freedom that comes with being an amateur in this space?

Kloisng: I work a day job, so time and energy after hours are limited. But in a way, not relying on music to make a living gives me more freedom I don’t have to chase trends or cater to the market. Once I understood that, it became clear: all I need to do is explore the music I truly love. Promoting a sound or genre is never a short-term thing, it takes years of dedication. Patience is key. Just because the market isn’t paying attention now doesn’t mean you should abandon the sound you love.