《鸣潮》拉海洛篇OST Vol.1《冰原星炬》
音乐总监 Music Director：jixwang
作曲 Composer / 编曲 Arranger：jixwang / baitian / Gokou / jkinss / YUE.STEVEN / win7mus / Minase / Koimoon / Ream雨舒 / TLK天翔 / auburn / markmilian / JINGYAN / 霄 / Metablue赛博蓝 / KH / 辻原 / G-Fun / 任麒霖 / Kausz
作词 Lyricist：林昱Evan / Xulai / markmilian
演唱 Vocal：Laco / Skywalker / Metablue赛博蓝 / DaHua / jkinss / Koimoon / markmilian / 妮利安Lily
混音师 Mixing Engineer：jixwang / Gokou / YUE.STEVEN / Minase / jkinss / TLK天翔 / Ream雨舒 / win7mus / auburn / 霄 / JINGYAN / Mitsunori Aizawa / 张步若@RSS Studio / 黄巍 Zach Huang @52Hz Studio / mAjorHon / KH / 辻原 / G-Fun / 任麒霖 / Kausz
乐器独奏Solo：
Guitar： jixwang / 愤怒的糖 / 张熙煜（Mask Zombie Man）
Bass：张熙煜（Mask Zombie Man）
Drum：罗彬@Timing Music Studio
Tabla：Sarang Gupta
Bansuri：Mithun Bairagi
Handpan：Damiano Della Torre
Cello Solo：Yoed Nir
Alto Sax: Bogdan Kravchuk
Oboe：Emanuele Moriconi
Flute：Dario Cei
Tin Whistle：Minase
Harmony：詹文博
录音棚 Studio：无音区杜比全景声录音棚 / 牛牛爸爸家
母带工程师 Mastering Engineer：jixwang / jkinss / YUE.STEVEN / Mitsunori Aizawa / 张步若@RSS Studio / mAjorHon / Ed Kim @Motherbird Studio / KH
助理母带工程师 Assistant Mastering Engineer：Donghee Cho @Motherbird Studio
谱务Score：auburn / 汪梓钧
助理Assistant：markmilian / auburn / Ream雨舒 / TLK天翔
出品 Produced by：鸣潮先约电台

《鸣潮》奔往琥珀之都OST 《废都的破晓》
音乐总监 Music Director：jixwang
作曲 Composer / 编曲 Arranger：Minase / Koimoon / 劣白Leo / TLK天翔 / markmilian / Ream雨舒 / 盖盖Nyan @再定义Studio / 十音 / Kausz / YokoJZ
作词 Lyricist：Xulai
演唱 Vocal：chelly / Koimoon
配音 CV：赵灵泽 Zhao Lingze / 金元寿子 Kanemoto Hisako / Leader Looi / 이주은 LEE JOO EUN
混音师 Mixing Engineer：Minase / 劣白Leo / Koimoon / TLK天翔 / markmilian / Ream雨舒 / 盖盖Nyan@再定义Studio / 十音 / 立石 佑太 Yuta Tateishi / YokoJZ / 张步若@RSS Studio
乐团 Orchestra：The Great Brilliant Sound Orchestra 辉音国际爱乐乐团
乐器独奏Solo：
Guitar：愤怒的糖 / 王尧 / 迪悗Deamonz / 张熙煜（Mask Zombie Man）
Bass：迪悗Deamonz / 张熙煜（Mask Zombie Man）
Flute：Dario Ce
Violin Solo：王温迪
Violin I：王温迪
Violin II：张宁
Viola：马艳春
Cello：狄博
Drums: 渋谷 憲 KEN SHIBUYA
指挥 Conductor：刘辉
录音棚 Studio：无音区杜比全景声棚 / 中国剧院录音棚 / Koimoon no house / The OST Haus（广州OST录音室）/ (((Deep echoes))) / studio MSR
录音师 Recording Engineer：Minase / TLK天翔 / 李巍 / Koimoon / Takeshi Saito / 生駒 隆之介 RYUNOSUKE IKOMA
母带工程师 Mastering Engineer：Simon Li at nOiz / mAjorHon
谱务Score：auburn / markmilian / Sakuma遙
助理Assistant：auburn / markmilian / Ream雨舒
出品 Produced by：鸣潮先约电台

“Being in the music industry for over 25 years inevitably makes you question your place in the current landscape,” David Tao tells Apple Music. “I think anyone, regardless of their profession, asks themselves at some point: Do I still matter? In a business fuelled by youth, trends and pop culture, the search for relevance, freshness and authenticity becomes a constant battle.” Arriving 12 years after his previous studio effort, <i>STUPID POP SONGS</i> sees the artist confronting the technical and temporal challenges of today’s cultural environment with a blend of nostalgia for his formative influences and curiosity about new developments like generative AI. Behind the self-deprecating title, Tao applies his genre inventiveness to everything from ’70s folk rock and ’80s glitz to fusion experiments like a hip-hop-tinged cover of Teresa Teng’s classic “A Thousand Words” and the guzheng-meets-Babyface vibe of “Forever Penny”. At turns sentimental, canny and whimsical, the album is anything but stupid.

Below, David Tao shares with Apple Music the genesis of selected album tracks.

<b>“Stupid Pop Song”</b>
“The word ‘pop' has carried a mixed reputation across generations. ‘Pop art’ in the ’50s and ’60s, for example, blurred the lines between ‘high’ and ‘low’ art, challenging the establishment and redefining what creativity could be. That spirit got me thinking about how I approach making music today.

“With today’s technology—AI, generative tools and endless software—music and art can be created with a few simple prompts, crunching data into something that resembles creativity. But can data feel? Can its soul be stirred to tears when it hits a specific note and lyric in a song? Can it capture the heartbreak, the nostalgia, the joy we try to express? If art and music are now so easily generated by machines, does that mean what we do, as humans, is obsolete? Is our work just noise? Just another stupid pop song?

“I hope you find the human elements in these tracks—the flaws, the soul, the sincerity. And, full disclosure: Yes, a little help from the machines was involved.”

<b>“Moonchild”</b>
“I came of age in the 1980s, a time when pop culture left its imprint on everything—music, fashion, design, visual art and advertising. It wasn’t just an influence, it was a force that shaped who I am. Decades later, its spirit still echoes through my work. ‘Moonchild’ is a tribute to that world, a kaleidoscope of new wave, psychedelia and eclectic sounds.

“I set out to resurrect the textures of that era—the thunder of big gated drums, the wail of soaring sax solos, the shimmer of analog synths that once defined a generation. Horns and saxophones, once the soul of records from the ’60s through the ’80s, have grown rare in the modern sonic landscape, but here, they return in full technicolour glory. Some may label it city pop but, for me, it’s something more. It evokes neon-lit streets, the allure of midnight glamour and the electric buzz of urban indulgence. It’s a sound steeped in nostalgia—yet still unmistakably of the now.”

<b>“On My Way”</b>
“Some of my most unforgettable journeys have been those long hours spent driving on the open road. Road trips give me the space to clear my mind, soak in the beauty of the world and reconnect with music in a deeper way. There are certain songs that feel tailor-made for the road—songs that carry a sense of motion, of speeding forward, of leaving worries behind. I hope ‘On My Way’ becomes one of those songs for you, a companion that gives you the strength to move on, let go and keep pushing forward with courage and a sense of adventure.

“Abe Laboriel Jr.’s staggered, march-like drumming captures the rhythm of a journey—its stops, starts and steady persistence—while the guitars lift the song into a feeling of flight and liberation. Even though there’s always a trace of sadness in leaving the familiar behind, there’s also hope—hope for new beginnings and the infinite possibilities waiting on the other side. Embrace life’s endless turns, and you’ll find yourself rewarded with both love and strength.”

<b>“Always Here”</b>
“This song began as a compositional experiment: Could I write two nearly symmetrical melodies, one in a minor key, the other in a major key? I wasn’t concerned with whether it would be easy to sing, arrange or perform live. I simply wanted to satisfy a personal challenge as a composer. The process turned out to be unexpectedly rewarding. Goh Kheng Long created a lush, cinematic orchestration that beautifully echoed the song’s duality, while lyricist Kevin Yi wrote words that reflected the same mirrored emotion and tone.

“I decided to feature the theremin as a centrepiece of the introduction. Known for its eerie, otherworldly sound, the theremin has appeared in countless classic recordings and experimental works. Here, its ghostly tone felt like the perfect way to open the track, especially when set against the orchestral backdrop and harpsichord. This was one of the final—and most technically challenging—tracks I recorded for the album. But I hope it’s the kind of song that lingers in your memory, echoing long after the music stops.”

<b>“From Dust to Dust”</b>
“I remember being around 12 when Taiwan’s folk rock scene still loomed large, especially among college students and those navigating their late twenties to early thirties. It was an era where intricate acoustic guitars met raw, intimate vocals—songs that spoke of daily life, societal concerns and personal reflections, all wrapped in poetry. One song that captured that spirit was ‘Dust In the Wind’ by Kansas, a 1977 classic that struck a universal chord. Every guy in the neighbourhood, especially those in the school guitar club, was either playing it or trying to master its mesmerising fingerpicking pattern. I remember thinking how powerful it felt to be able to do something others couldn’t. That song—and that feeling—was one of the reasons I first picked up a guitar.

“While working on this album, I told myself I wanted to return to those roots. To write a song carried by a single guitar, a melody that stirs the soul and lyrics that cut to the core—asking what it all means in a world so tangled and fast-moving. ‘From Dust to Dust’ is just that. The lyrics, penned like a piece of poetry by Francis Lee, paint a world stripped down to its bones—a quiet, almost utopian desolation. The Celtic-tinged violin, the austere choral voices singing in unison and the minimal instrumentation invite the listener to reflect. To pause. To consider what kind of footprints we leave behind as we move through this fragile world.”

<b>“A Thousand Words”</b>
“The version of ‘A Thousand Words’ you’re hearing now was only completed six months before release. I had been working on an earlier arrangement for over a year. Built around the electric guitar, it was slower in tempo and had a down-tempo neo-soul feel. That version had a sensual, chill vibe, but ultimately, it felt too lethargic and lacked the energy or commercial appeal I was hoping for. Letting go of it wasn’t easy, but I eventually decided to start over and rework the song into the more hip-hop-inspired version you hear today.

“Interestingly, this is the only track on the album where I handed over all arrangement duties to someone else. Bryan Tay and I have toured together for years, and as I got to know his playing style and creative instincts more deeply, I felt confident this was something he could really make his own.

“Covering a classic is never easy, especially when the melody, lyrics and original feel are so deeply ingrained in people’s minds. Adding something new requires both imagination and risk. I wanted to create a new hook, something that could lift the listener emotionally and take the song somewhere unexpected. At the same time, I had to respect the spirit and structure of the original. This pursuit of ‘finding something new within the old’ is something I also explored with ‘The Moon Represents My Heart’, ‘Longing for the Spring Breeze’ and even ‘Susan Said’. Whether or not I succeeded with this updated take on a Chinese pop classic, that’s for you to decide.”

<b>“Forever Penny”</b>
“The verses of ‘Forever Penny’ were originally sung in falsetto. The key in the early demos was B-flat, whereas the final version you hear now is in D—a full four semitones higher. The original idea was for the verses to feel soft and fluid, like water, carried by the delicate quality of falsetto. However, after a couple of years, when the lyrics were finally written and I recorded a new demo, I realised it was incredibly difficult to sing the lyrics in that falsetto range. I raised the key to C, which allowed me to sing the verses in a lower, natural voice. But this meant the chorus was low in my range, where there was no energy. The other solution was to raise the key once more—to D. This made the verses more comfortable, but the trade-off was that the chorus now sat right at the first break in my vocal register, which can be awkward and challenging to sing. These kinds of trade-offs are part of making music. Sometimes, you can’t have everything in the most ideal place; you have to make compromises to serve the overall balance of the song.

“‘Forever Penny’ is also special to me because it was the first time I wrote all the Chinese instrument parts myself: erhu, dizi and guzheng. In the past, many of these parts were written by Goh Keng Long, but I wanted to take on the challenge this time. I have a decent knowledge of these instruments and really wanted to try my hand at arranging them. If there’s one thing I wish we could’ve done differently, it would be re-recording the string parts in the final key of D, instead of pitch-shifting them up four semitones. But doing that would have delayed the release—and I didn’t want to keep Penny waiting any longer to hear the song I wrote for her.

“I also spent quite a bit of time shaping the electric piano sound. It was inspired by one of my musical heroes: Babyface. His iconic electric piano tones and playing style helped define R&B in the ’80s and ’90s, and they have always been a kind of mystery to me. Trying to recreate a bit of that magic was one of the most fun parts of this process.”

《鸣潮》黎那汐塔篇OST Vol.12《云山况是客中过》

《鸣潮》黎那汐塔篇OST Vol.11《烬夜启明》

《鸣潮》黎那汐塔篇OST Vol.10《不可度量的独一》

　　该怎么诠释我这一路的颠沛呢？呃……无数次提笔又无数次放下，说实话我不知道该怎么表达，也不知道该怎么形容，它是复杂的、凌乱的、破碎的、咸涩的、辛酸的、痛不欲生的！
　　该从何讲起呢我的朋友，总得有个前言吧，我来跟你讲讲我以前的故事。
　　……
　　相同于往常又有些不寻常，在零六年夏天某个炎热的上午，某个小县城里的县医院传来了吵闹声。“这都第三个了，怎么还是男孩儿？！”一个挺着大肚子的女人说道。“男孩儿，男孩儿好呀！养儿防老不是嘛。”声音来自女人身旁的白大褂。“而且你这都第三胎了，不是我说你，风险太大了，这次再打掉的话…可能以后再也不会有……您清楚嘛？再考虑一下。”“……算了也只能这样了，还是感谢大夫了。”
　　两个月后，距离预产期还有十周……“不行，产妇的身体状况太不好了，体重超出预期太高了，照这样下去估计顺产是不可能了，要不剖腹吧……”护士长看着片子紧皱眉头。“可孩子还有三个月才……”“别说了！这是唯一的办法！！”
　　就这样，在那天，一束强光照向我，裹挟着期望和失望，塞满了许多的错误从而形成了一种很诡异的正确。没错，我出生了。
　　或许是我的不满吧，亦或者我本身就是个怪胎，早产了三个月还能活下来，总之在我的母亲身上留下了她这辈子都可能抹不下的痕迹——长达一厘米宽的数十条妊娠纹。
　　至于我的童年，那可谓是彻彻底底的一片少年深渊，母亲是一个很要强的人，生下了我没多久就跑去外地工作了，打我记事以来又或是从保温箱出来以后，一直是姥姥姥爷陪在我身边，直到我学会走路，上学……我的爸爸妈妈都很忙，忙得像永远不下班。
　　“怎么没人接你放学？你的爸爸妈妈呢？”
　　“你该不会没有爸爸妈妈吧哈哈哈哈哈……”
　　“你怎么每天都脏脏的，还戴着帽子啊，拿下来让我看看！”
　　“哇！你怎么没有头发，你是秃子吗？大家快来看呐！”
　　“你还我帽子！”
　　“丑八怪离我远点！你这破帽子像谁稀罕似的……”
　　“咱们以后不要再一起玩了，我妈妈不让……”
　　“小骏，你这脸上咋青一块紫一块的，咋回事？”
　　“姥姥我放学不小心摔的……”
　　……
　　瘦小的我又能做到什么，自卑的我又能改变什么？照现在看，我都不知道小时候的我到底是怎么活过来的，没人和我一起玩，整天还旧伤添新伤，没有啥朋友，更别说我当时喜欢的女生了，都离我远远的。
　　再后来，就长大了，上中学了，小男生嘛，叛逆期也上来了，虚荣心也上来了，攀比心也上来了，唯一没有改变的就是我仍然是那个怪胎……我为了融入他们所谓的圈子，我想让他们能接纳我，最简单的方式就是和他们穿的一样，吃的一样，这样至少看上来我们是一伙的……现在想想还是当时的自己太天真了，也太可笑了，但总之我做了很多直到现在自己在想起来仍然很后悔的事……
　　“姥姥他们都穿这个，我也想要！姥爷我同学今天新换了个手机，真好看呀！我……”
　　姥姥姥爷三个月的工资能换来什么呢？三个月三口人的吃饱喝足？当时的我想的是一双崭新的同学同款名牌球鞋，我真的…我说多了我快哭出来了……我领姥爷去到他大半辈子都没去过的球鞋专柜，当时的柜员嫌我姥爷的鞋底太脏所以给他换了个专属的“鞋套”，这个鞋套套住的不是姥爷的布鞋，而是姥爷的尊严和我那为了攀比从而快疯魔的心。而当时的我却想的是姥爷一块儿跟我出门，真没面子……我真是个彻彻底底的怪胎，或许我之后所遇到的事都是在为了少年的我赎罪……就这样，罪恶的度过我的一整个中学时期。
　　再后来……就长大了，一晚上就长大了，妈妈回家了，姥姥得了癌症，姥爷脑梗了，真的我能明显的感觉到家里的“接力棒”到了我的手里，那会儿也真的蜕变了许多，家里忙的不可开交，我一边上高中，中午要给姥姥送饭，对于家里，刚开始我是难以接受的，妈妈从来没有管过我，一直都是姥姥姥爷陪我，当我从心里慢慢接受的时候，妈妈又突然插足到我的生活里，我难过，妈我不怪你，我难过的是你怎么回来这么晚啊…妈妈你知不知道我以前那段日子我多煎熬啊……他们说我是怪物…说我有娘生没娘……唉，回来了就好，至于姥姥姥爷，我就记得姥姥当时总是胃疼，疼的吃不下饭，疼的睡不着觉，她也不和我说，疼了好久好久，也挺了好久好久，实在撑不住了，去医院检查，为了省钱都是坐公交去的，真的当时的我天真的以为姥姥下午就会从医院回家给我做饭吃……可是从那天起姥姥就再也没回来过……再见面就是在医院了，我不敢接受，我也不想接受，可事实就摆在那，活生生的人啊，怎么会站着进去，躺着出来……老天我问问你，我姥姥节俭的苦了一辈子，你为什么到最后要这么对她？！
　　……
　　姥爷像是我的脊椎，姥姥是我的翅膀，从那之后我的脊椎垮了，翅膀折了，我也长大了。家里一团糟了，我没心思再上学，也就辍了出门找工作了，在学校里经历的一切放到社会的餐桌上真的不值一提，出了校门后上的每一“课”都是流血的，惨痛的，刻骨铭心的。我也清清楚楚地知道我是多么的渺小，无助。老师教会了我很多，唯独没教会我怎么挣钱，我误打误撞的来到各个城市漂泊，那年，我16岁。
　　……
　　大年二十五，没钱回家，没脸回家，挤在8平米的串串房里，还得多出来个合租的“兄弟”，天太冷了，出门买个羊肉卷回家放烧水壶里涮涮，就这么草草的把年过了，再点开小程序里别人吃烤肉的五星评论图片，保存一下，转发给家里。“过年就不回家啦，这段时间忙，别惦记啦，看今天公司团建老板请我们吃烤肉！年后不忙了肯定回家。”骗的了家里，骗不了自己。
　　日子过的飞快，也在一天天的变好，可人围得越多我为什么就越是想家呢，或许我该回去一趟了。我总是会做噩梦，可能是想让我不要忘记那段“深刻”的回忆吧！原来眼泪和鼻涕也是会冻住的。
　　……
　　两年没回去了，今年挣点钱必须回去看看，给他们个惊喜！下了站台，打了车，到了地方，不争气的眼泪又流下来了，我的家，去哪了……筒子楼变成了商业街，我的家，变成了平地起的高楼大厦，街坊之间不再联系，有些想见的人或许已经被深埋在这片“水泥森林”的脚下，我，也不再是我……
　　——赵子彧随笔于2025年7月31日，新专辑《奇才，旷世奇才》发布的前夕。
　　我把我的生活嚼碎了，喂给你们孱弱的灵魂，这个世界很冷，我们得抱团取暖，相濡以沫。
　　这是我的第二张个人专辑，谁也不写，写我自己，写小娃，写亚细亚的旷世奇才。感谢每一个从始至终默默支持我的兄弟姐妹，祝我们未来踏下的每一步都会无比的踏实，无比的轻松。
　　这是亚细亚旷世奇才自《莫愁乡》等一系列爆款单曲发行后的首张专辑，也是亚细亚的首个同名专辑，其标新立异的概念以及情绪，都是以个人为起点进行创作的，但与其他歌手不同的是，亚细亚旷世奇才更能抓住一些微观的琐碎的冗杂的事物，能更好地抒发其想表达的含义和情绪，能让听众有所共鸣，听众能在任何一首歌里找到自己，这也是亚细亚旷世奇才本人想要的。
　　专辑目录及顺序：
　　Intro:人间
　　（Prod.BLICK/nashi/杰夫）
　　当一束强光照向我
　　(Prod.Hozay)
　　怪胎
　　(Prod.peril)
　　姥姥
　　(Prod.FeastyThaProducer)
　　靶向药
　　(Prod.M0nty)
　　坟包包Ft.二流子
　　(Prod. Bloody Castle/贾育长)
　　小娃Pt.2
　　(Prod.ADELSO)
　　Skit:亲爱的，我爱你
　　(Prod.eeryskies.)
　　枕河(Instrumental)
　　(Prod.ADELSO)
　　如意湖Ft.ThreeThousand***
　　(Prod.MD XXL)
　　余念安
　　（Prod.M0nty)
　　Outro:醒醒，放学了
　　（Prod.BLICK/nashi/杰夫）
　　全专Mix/Master:歪歪Mixing
　　监制:歪歪/ThreeThousand***
　　艺人经纪/统筹：百万
　　封面设计：84dontfall
　　MV视觉:ChiggaLee
　　导演:歪歪Mixing
　　特别鸣谢:Chigga Lee
　　感谢这张专辑幕后的每一个老师，还有耳机另一头的你们，都是我的姊妹兄弟。
　　来自刷怪笼，当钟声敲响时，我不会忘记自己来自哪里。幻想乡富翁总有一天会跳出乌托邦。
　　享受音乐，洗涤灵魂。

《鸣潮》黎那汐塔篇OST Vol.9《逐日者的征行》

人要幸福一定要有钱，就这么简单。我不愿赤裸裸的向往金钱.，也不想再假清高。
也许我该放下一切赚更多的钱，但我就是做不到。可能钱的魔法也只是到此为止吧。
总制作人：John Liu
项目总监：飞行少年
封面拍摄：贾智元
封面设计：DirtyLiu
统筹：冲手冲
出品：MOOD X WASTED
共同出品：AYO
发行： 华纳音乐

《鸣潮》黎那汐塔篇OST Vol.8《梦寐深海》

《鸣潮》黎那汐塔篇OST Vol.7《无名长诗》

《鸣潮》黎那汐塔篇OST Vol.6《酣欢荣耀》

《原神》第三张纳塔篇OST《竟夜有辉之燎 Radiance Aflame》正式上线，专辑分为《圣山所庇的丰壤 Where the Sacred Mountain Shelters the Fields》、《旌归永寂的战阵 In Noiseless Dreams Hundreds of Battle-Flags》与《扬光曜之燎 To Strive and Not Yield》3张分碟，共收录58首由HOYO-MiX音乐团队为《原神》纳塔沃陆之邦地区等内容创作的原声音乐。

叔本华将成年人比作刺猬。刺猬无法彻底贴近同类，因为身上的尖刺会伤及彼此。它们也无法彻底远离同类，因为只有尽量贴近彼此才能取暖。成为刺猬意味着某种成长、独立，意味着懂得权衡利弊、自我保护。成为刺猬也意味着某种困境，意味着藏起柔软的心，杀死那些不切实际的梦。到底成长是什么呢？我们与孩童时的自己比起来，除了长满的刺，是否也丢掉了什么呢？
在《都市金阁寺》中，迷心聚焦的是当代年轻人和都市之间的关系。在《刺猬冲向风车》中，我们想捕捉那些成年人回归孩子般单纯的时刻。孩子的快乐往往只需要一瞬间的满足——一颗糖，一句称赞，一阵风，一朵云。成年人的崩溃也同样总在一瞬间发生——一句否定，一次分手，一场筋疲力尽后下班路上的倾盆大雨。理性偶尔会崩塌，成年人也会在某些时刻，故意把事情搞砸，或者撞它一个头破血流，才能感觉到自己还活着。
那些时刻可以是《堂吉诃德》带领桑丘义无反顾地冲向风车。可以是《午夜玫瑰》中已不再年轻的阿姨，等待家人熟睡后在昏暗的客厅独自起舞。可以是《我们不得不相爱》中的恋人，感到人生是虚无却依然相信爱并非虚无。可以是主创幻想中《麦田守望者》的主人公长大后，当了一辈子别人眼里的混蛋，但他从未伤害过任何人，偶尔在梦里会想起母亲的那句“你已经做得很好了”。也可以是《喝醉时吻过你》来自主创已故的挚友讲述的真实故事：两个男孩子大学四年没有说出口的感情，化为了毕业时，借着酒劲儿印在脸颊上的一个吻。这世界上很多事未必有结果，但真的都没意义吗？这就是《刺猬冲向风车》想表达的故事，我们用8首歌描绘了8个成人世界的小童话。
同《都市金阁寺》一样，《刺猬冲向风车》依然保持着由迷心独立完成全部词曲编混工作的传统。成员在音乐行业多年的蛰伏和幕后打磨让他们更懂得「克制」的魅力。在“讲故事”和“音乐剧”结构的专辑设定下，迷心相比一专减少了一些他们最擅长的合成器元素。这是一张并不“跟风”当下最流行的元素的专辑，每一个音色和音符的出发点都在试图为音乐和表达服务。没有各种电子流派的归类，甚至也没那么“酷”。真诚地表达，好好地唱歌，做过很多轮减法的乐器编配，以及将故事从写实带到梦核感的合成器调制，到最终追求克制、清晰、质朴的混音，即是《刺猬冲向风车》的整个诞生流程。
听说在遥远的过去，有一位英勇的西班牙骑士曾骑着战马，义无反顾地冲向风车。刺猬怎么会冲向风车呢？
是啊，刺猬怎么就不能冲向风车呢？
大家好，我们是迷心，现在邀请所有的刺猬骑士，随我们再一次，冲锋！

原声带内含 29 首原创音乐，于精彩配乐中感受《明末：渊虚之羽》诡谲神秘的的魅力世界。