『海有模样吗？』『岛有形状吗？』 望海的人们众说纷纭， 只见，岛依傍着海 在平原边缘 泛起 海的皱纹。 十首来自作曲家萧育霆向台九线最真挚的叩问，反诘生命历程的动人诗篇。 入围第27届传艺金曲奖「最佳跨界音乐专辑奖」作曲家萧育霆，自首张专辑个人创作专辑《台湾巡礼–花东印象》后，萧育霆历时五年，尝试以更细腻笔触，写下台湾最美的公路上，遇见的人文情怀与自然风土的乐音，由北至南如眉线般点妆东部海岸的台九线，《沿海忆像–台九线诗篇》专辑孕育而生。 专辑延续求学期间的台东经验，花莲子弟竖笛家范捷安及宜兰音乐家友人们的珍贵情谊，人文地景相互辉映，怀想台九在线以乐会友的美好时光。 新专辑的阵容乃一时之选，邀请活跃于乐坛之各界精英，由分别任职于国家级乐团的李家豪、白宇捷、蔡弦修与丁莉龄组成之弦乐四重奏、萨克斯风杨晓恩、钢琴许郁瑛、低音大提琴徐崇育及爵士鼓林伟中），荣获金曲奖、金音奖项之四爪乐团、曾获意大利第三届国际击乐大赛重奏组冠军双子二重奏（木琴演奏家简任廷和简任佑）、极富创意的High Fly竖笛四重奏、知名筝乐家郭岷勤共同跨界演出，特邀南美国宝级吉他大师Roberto Zayas以灵动的乐声为专辑增色。如碰撞山石溪水般激荡彼此音乐瞬间，让专辑音乐跨度之多元，斑斓多彩而融合。 自古画家写景，文人能笔下寄情，如何用抽象乐音来梳理心中对土地情怀的赤焰之火，是萧育霆踏足东海岸的音乐轨迹，对映自身经验的真实触动。专辑可听见海风与山风吹拂如管乐器尽情讴歌，人们生活似弦张驰有度而弹性，劳动之后的汗水在阳光下闪耀，在海的呼吸里听见太鲁阁族的古谣、客家传统山歌的乐音未歇。夜里的星光富有地洒满整个大地，偶有闪电或雨滴，是木琴温厚声响降落在兰阳平原上。 〈洄澜舞曲〉随太平洋的风婆娑身体，〈摇响平板山歌〉的爵士舞曲宛如新生，〈砂卡礑舞乐〉的开垦歌声低鸣方歇，听见〈风与精灵〉壮然峡谷穿梭的咏叹。〈兰阳摇篮曲〉回到襁褓时的记忆里睡去，〈月牙湾的脚印〉旅人足迹的似曾相识，致〈回忆与快板〉的往日时光。〈宜兰脉动〉中锻造声响滔滔 彷彿战鼓震天价响，沿着历史长河驰骋而去。谱一页〈台九线夜曲〉悠然自得，渲染如霞彩的梦境，〈生〉在大地脉搏的起伏里，万物甦醒。 《沿海忆像–台九线诗篇》专辑是萧育霆对山海的诘问，是致友人们的信，是献给东海岸的诗篇。至于那些大哉问，最终是否有获得解答呢？萧育霆在自然间的生命脉动里和属于台湾的美丽乐音中找到了，但步伐却未曾停歇，一如作曲家的职志使命，转译文化与山风海雨共舞的声音。 『岛的形状就是海的形状。 海的模样就是岛的模样。』 “Does the ocean have a shape?” “Does the island have a form?” These ten songs come from composer Yu-Ting Hsiao’s most sincere inquiries for Provincial Highway No. 9 – moving compositions that inquire into the landmarks along the road of life. Composer Yu-Ting Hsiao was a nominee for 27th Golden Melody Awards Traditional Arts & Music “Best Crossover Award”. In the five years since his first solo album HuaTung Images, Hsiao has attempted to draw more finely the music of the people, cultures, feelings, and nature he encounters upon Taiwan’s most beautiful road. From north to south, like a feathered eyebrow, he has sketched Provincial Highway No. 9, giving rise to Coastline Memories and Images: Poems for Taiwan's Provincial Highway No. 9. The album Coastline Memories and Images: Poems for Taiwan's Provincial Highway No. 9 comes from Hsiao’s inquiries of the mountains and ocean. From ancient times, painters have committed landscapes to paper, while literati have recorded their feelings through deft writing. How to use abstract music to organize one’s feelings for the land, feelings that glow like fire—these are the trajectory the composer has followed as he has traced steps along the east coast, reflecting what has truly stirred him through his personal experiences. This album is also a collection of poems dedicated by the composer to the east coast. Sea and mountain winds caress, like wind instruments’ emotional celebration in song. People’s lives are like the strings, at times tense, at times relaxed, all in good rhythm; the sweat of labor glistens in the sun. In the ocean’s breaths, in and out, we hear the ancient tunes of the Truku people, and the traditional mountain songs of the Hakka people, never ceasing. At night, starlight richly dapples all the earth; an occasional flash of lightning or drop of rain are the xylophone’s warm sound falling upon the Lanyang Plain. “Backwash Tango, Hualien” follows the Pacific’s swaying, swirling body; the jazzy dance tune of “Hakka folk Song in Swing” is like new life; then the forest-clearing song of “Truku Dance at Shakadang” whispers and pauses, and we hear the call of “Wind and Fairies” that carries back and forth through majestic canyons. “Drizzling Yilan Lullaby” brings us back to memories of dozing away, swaddled; while the somehow familiar travelers’ footprints in “Foot Trace on Crescent Bay” bring us to the bygone days of “Memories in Allegro”. The pummeling sounds of forging in “Pulses of Yilan” are like the earth-shattering beat of war-drums, galloping away along the river of history. The composed lines of “Nocturne” are relaxed and well at ease, full of dream-forms like sunset colors. In the undulations of the world in “Life”, all things awaken. The island’s form, from the ocean grows. The ocean’s shape, the island bestows.