当我们把时间的刻度往回拨三年，Louis The Child 发行了一首《Euphoria》，在LTC众多耳熟能详的作品之外，这首相对冷门的曲子可能已经被遗忘。

When we turn the clock back three years, Louis The Child released a track called ‘Euphoria’ Among the many well-known works of LTC, this relatively obscure track might have already been forgotten.

但现在，大家不妨站在今天的视角重温一遍这首歌，很可能会产生焕然一新的感受甚至感慨。它不仅浓缩了EDM巅峰时期的华彩乐章，也在一些创新元素表现上直接预测了未来趋势。

But now, from today’s perspective, let’s revisit this song. You might experience a completely new feeling or even be moved by it. It not only encapsulates the brilliance of EDM’s peak era but also directly predicts future trends through some of its innovative elements.

是的，由Robby 和 Freddy 组成的 Louis The Child ，自从受十年前EDM风暴的影响启动以来，他们一直都位于“EDM最佳正名者”的行列，从芝加哥到全世界，以极为丰富的音乐做法推动着主流电音的进步。

Yeah, Louis The Child, composed of Robby and Freddy, have been among the ‘best ambassadors of EDM’ since they were influenced by the EDM storm a decade ago. From Chicago to the rest of the world, they have been advancing mainstream electronic dance music with their extremely diverse musical approaches.

今天，也许属于EDM的光辉年华已如潮水褪去，但电子音乐这么美好的东西，其前景从来不必令人顾虑，因为历史告诉我们它总能以新的方式和状态去感染更多人。而在这个过程中，始终都在蜕变自己，不断新生的LTC，也势必会把“保驾护航”的角色继续扮演下去。

Today, the glorious days of EDM may have receded like the tide, but there is no need to worry about the future of electronic music, such a wonderful thing. History tells us that it always finds new ways and forms to resonate with more people. In this process, Louis The Child, constantly evolving and reinventing themselves, will undoubtedly continue to play the role of ‘guardian’ of this scene.

我们早就想找他们聊聊了！
We’ve been wanting to chat with them for a long time!

▎Mixmag China = M

▎Louis The Child (Robby & Freddy) = R / F

PART.1 从未滞后时代的LTC
LTC – Never Behind the Times

M：你们觉得LTC是不是一个“很美式”的乐队？
Do you guys think LTC is a pretty “American-style” band?

F：我猜也是吧。我们其实没有刻意想成为一支典型的美式乐队，但也没特意用英语之外的其他语言来写歌。我会说一点法语，几乎每天都在练习，但我希望在用法语写歌之前能更熟练一点，也许有一天会吧！我真的对学习多种语言非常感兴趣，但要变得流利确实需要很长时间。
I guess so. We haven’t really tried to be an American style band, but we’re also not purposely writing music in other languages than English. I speak a bit of French and I practice almost every day, but I’d like to be more fluent before trying to write songs in French. Maybe one day! I’m definitely super interested in learning multiple languages, but it takes a long time to become fluent.

M：LTC两位成员在组合中扮演的角色有什么区别？
What are the differences in roles played by the two members of LTC in the group?

F：我们真的像是天生的完美搭子，我们之间会频繁地传递想法，再将作品从雏形向成熟发展。在构思的过程中，我更多地负责乐器演奏和音乐的微调，而Robby则更多地负责编曲和作词作曲，以及像Rick Rubin那样的经典监制角色。我在学校时学过古典和爵士乐，而Robby专修音乐理论课程，对调性、和弦变化和鼓点节奏拥有出众的理解。
We’re really a good tag team duo, passing ideas back and forth, evolving them together. I do a bit more of the instrument playing and musical fine-tuning during the ideation process, and Robby does a bit more of the arranging, songwriting, and the classic style of producing similar to how Rick Rubin executive produces. I had a bit more classical and jazz education in school, but Robby took music theory courses and has a good understanding of keys, chord changes, and drum rhythms as well.

R：没错，到现在我们已经很了解彼此的优势，并且能够很好地发挥这些优势。Freddy是个创意机器，而我一直是个很好的组织者，所以我能让他自由发挥，最后再进行梳理整合。因此我们不会陷入封闭的自我，身边有一个默契的创作伙伴这感觉真好。
Yeah by now we have a good idea of each other’s strengths and can play into them very well. Freddy is an idea machine and I’ve always been a good organizer so I’m able to let him run free and then move stuff around later. It’s nice having another person to work with.

M：从去年5月开始，你们发布的每首新歌都以可爱的云朵形象示人，这代表什么？
Starting from last May, every new track you’ve released has been accompanied by a cute cloud image. What does that represent?

F：那些是云怪，开心可爱的云怪。它们代表了几样东西，有时候它们代表LTC和我们的合作者。每当我们和一位歌手在录音室里写歌时，感觉就像我们一起踏上冒险。这个过程充满游戏般的乐趣，闯入了一个新的世界。在我们的设想中，各种云朵样貌的小怪物在充满活力云世界中进行玩耍和冒险，这是一种对我们创作过程很形象的诠释。

Those are the cloud monsters. Happy cute cloud monsters. They represent a few things. Sometimes they represent LTC and our collaborators. When we’re in the studio with a singer, writing a song feels like we’re all going on a little adventure. It’s a fun and playful process where we dive into a new world together. We think imagining the cloud monsters going on a fun and playful adventure through a vibrant cloud-world is a good representation of the creative process…

但这些拟人化的云也代表了一种看待世界的方式，把世界视为你的朋友，或是一个可爱和快乐的地方。生活中我们可能会因为一些经历而感到孤独和害怕，但如果你能想象树木、云朵、大地和其他人都是属于你的小可爱，准备和你一起去冒险，或许能大大减轻那种压抑感。相应的，我们的音乐也追求一种沁人心脾的感觉，让音色漂浮和游荡起来。
But the personification of the clouds also represents a way of looking at the world as your friend, or as a cute and happy place. Sometimes the world can feel lonely and scary, but if you can imagine the trees, clouds, earth, and other people as your cute little friends ready to go on an adventure with you, maybe it can lighten the heaviness.

M：最新单曲《Falling》中除了歌手NJOMZA，也合作了 Daniel Allan 这位电子音乐制作人，他为这支作品赋予了哪些独特之处？
In the latest single ‘Falling’ besides the singer NJOMZA, you also collaborated with the electronic music producer Daniel Allan. What unique elements did he bring to this track?

F：与Daniel Allan合作对我们来说非常轻松自然，我们有相似的兴趣和风格，可以轻松地把作品的工程文件来回传递，添加想法并促成歌曲。我会说，Daniel Allan为他所在的地方和他制作的音乐注入了友好且有趣的能量。
Working with Daniel Allan feels very easy and natural for us, we have similar interests and styles, and can easily pass the computer back and forth, adding ideas, and evolving the song. I’d say Daniel Allan adds a friendly, fun energy to the places he’s in and the music he makes.

R：Daniel带来了一种令人感到近乎饥渴的能量。他是那种不断尝试新想法并非常努力去实践的人。和他这样的音乐人一起合作非常棒，因为你知道他会尽力激发出每个人的最佳状态。
Daniel brought a really fun and hungry energy to the room. He’s someone who keeps trying ideas and works really hard. It’s great working with someone who you know is trying to get the best out of everyone in the room.

PART.2 不挑食，就不怕没灵感
Not Picky, Never Short of Inspiration

M：如今回看 Future Bass 已然可谓是一种成功的电音曲风，不仅与流行音乐完美兼容，它也一直延续发展至今仍保持着相当的热度。那么作为乐迷公认最棒的 Future Bass 制作人之一，如果你们用几个词或一句话来概括自己秘诀，会是什么？
Looking back now, Future Bass can be considered a successful electronic music genre. Not only does it blend perfectly with pop music, but it has also continued to evolve and maintain considerable popularity. As one of the widely acknowledged best Future Bass producers among music enthusiasts, if using several words or a short sentense to describle your music secret (production key), what would it be?

F：我想强调纯正的Future Bass融合了90年代到2010年代的嘻哈、爵士、旋律性Dubstep、Trap、电子独立音乐(比如Indietronica)和常规独立音乐的元素。

Future Bass的关键在于非常精细的节奏点，由现代合成器设计演奏出来，并且非常注重音色、立体声效果，包括混响、音头、持续时间以及和弦合成器的运用。和弦旋律的创作尤其关键，你必须捕捉到正确的情绪。正确使用7和弦、9和弦或add9和弦，并把些和弦适配到跳跃的节奏性中。

由此才能将正确的节奏点、旋律色彩、声音设计和歌词创作结合在一首歌里。其实这种风格比其他许多电子类型更具技术难度。很多人只是表面上模仿，但要真正捕捉到它的灵魂并不容易。

I’d say pure future bass pulls together elements from 90s-2010s hip hop, jazz, melodic dubstep, trap, electronic indie, and general indie music. Future bass is about really fine tuned rhythmic pockets played out by modern synth design with a focused attention to detail on timbre, stereo imaging including reverb, attack, sustain, and release of chord synths. The chord and melodic writing are also really important to capture the right mood. The right use of 7th and 9th or add9 chords, and using those chords rhythmically are also important. Getting the right rhythmic pocket, melodic feel, sound design, and lyrical songwriting all together on one song makes this style a bit more technically difficult than other genres. A lot of people have replicated it in a surface level way, but capturing the soul of it isn’t easy.

M：从2010年至今，主流EDM趋势发生了哪些阶段性变化，能否从你们艺人的角度为我们做个简单解读？
From 2010 to the present, what are the phased changes in the mainstream EDM trend? Could you give us a brief interpretation?

F：主流EDM已经发展得非常多样化了，有很多不同的空间容纳各种大类和子类型。我觉得Dubstep/Trap和Future Bass分别把140 BPM和80-100 BPM的节奏引入了主流。在那之前，主流EDM基本上都是在120 BPM左右。

现在，UK Garage和Drum & Bass在国际上，甚至在美国都很受欢迎，人们也还在做120 BPM的House音乐，但也有人把House音乐的节奏提高到140甚至155 BPM以上。Fred again..无疑就是现在的主流EDM，他自由地拉扯节奏，从Garage、Drum & Bass、House、现代Rap-Trap等风格中汲取灵感。如今的电子舞曲在节奏和节拍上的做法已经有很大的自由度。

Mainstream EDM has evolved pretty divergently. There’s a lot of different spaces for a lot of different genres and sub-genres. I think dubstep/trap and future bass opened the door to 140 bpm and 80-100bpm respectively. Before that, mainstream EDM was largely in the 120s. These days garage/ drum & bass are having moments internationally and also in the states, and people are also still making 120s house music, yet people are also making fast house music into the 140s and up to 155bpm+. Fred Again is now mainstream EDM and he freely pushes and drags the tempo and pulls from garage, drum and bass, house, modern rap-trap etc. Right now there is a good bit of freedom in tempo and rhythmic pocket.

R：有趣的是，过去几年我们看到电子音乐的趋势更多地回归到早期的根源，几乎是从2010年代的主舞台EDM扭转了180度。当然，这些声音/风格一直存在，只是现在它们才迎来一个更高光的时刻，人们也才开始更乐意寻找它们。似乎大家现在都为了从电子音乐中寻找更多的真实感。
It’s interesting to see that in the past few years we’ve seen a shift towards more of the early roots of electronic music. Almost a complete 180 from the big stages/pop sound of the 2010s. Of course a lot of these sounds/styles have always been around, they’re just having a much bigger moment right now and people are seeking it out more. It seems like people all around are searching for more authenticity now in their experiences with electronic music.

M：那么在这十多年的推移中，你们的音乐路线(或者说理念)是否有发生 重大改变的时刻？
So, over the past decade or so, have there been any significant moments where your music direction (or philosophy) underwent major changes?

F：当我们在创作新专辑或项目时，会非常具体地确定项目的重点。比如，当我们写《Here For Now》这张专辑时，我正深处爷爷过世的悲痛时期，因而这整个专辑其实是关于死亡的，关于我们只存在于当下的理念。

这张专辑也想表达我们努力在每一个时刻找到最好的东西，珍惜与朋友和家人在一起的时间，因为一切可能转瞬之间就会结束。所以你最好真正享受当下，放慢脚步，珍惜身边的人。不管事情对你来说有多好或多坏，这一刻只存在于现在。所以尽可能去拥抱美好的时刻，同时意识到哪怕多糟的时刻也会过去的。

When we’re working on a new album/ project, we get pretty specific about what the focus is of the project. When we wrote our album Here For Now, I was going through the grieving process because my grandpa had just passed away, and the whole project was kind of about death, and the idea that we’re only here for now. It was about trying to find the best in each moment, and appreciating the time you have with friends and family because in a snap of a finger, it could be over. So you might as well really soak in the moment and slow down and appreciate the people around you. No matter how good or how bad things are for you, that moment is here for now. So appreciate the good as much as you can, and realize that the bad moments are only transient as well.

我们的项目《Black Marble》在音乐上探索了相对更抽象的深夜舞曲，把你引向欧洲俱乐部舞池的感觉。这个项目有点粗糙，褪去了我们日常的创作风格。我们把这个项目视为舞曲电影的配乐，你可以在YouTube上观看张专辑对应的影片。

通过这部电影，我们想聚焦世界各地的深夜都市氛围及其那里特有的舞曲文化。我们还想突出个体舞者，因为我们觉得大多数舞者总是被音乐影片中的艺人掩盖了光芒，他们的名字甚至通常不会被提及。电影意在还原一种街头录像的感觉，关注深夜的城市锐舞文化。
Our project “Black Marble” musically explores abstract late night dance music with a European club DJ feel. It’s a bit grittier and removes our usual song-songwriter feel. We view that project as a soundtrack to the dance film which is available on YouTube. With the film, we wanted to focus on late night urban environments around the world, and dance cultures from those places. We wanted to shine a light on the individual dancers as well, as we feel most dancers get outshined by the artists they’re dancing for, and their name usually isn’t even referenced. There’s a street videography feel, and a focus on late night, urban dance culture.

回到我们即将发布的专辑，我们想创造出经典Louis the Child风格的进化版，包含Future Bass、House、Indie Dance、Drum & Bass 和 Garage 等元素。这次我们要重回歌曲创作的模式，并通过更鲜活的制作手法来支撑它。

这次我们不像《Here For Now》那样有一个贯穿的故事主题，因为那段经历代表的是人生中的沉重时刻，我们有更多的风格化制作主题，还有整体上的云怪概念，这是一场与朋友们一起开启的奇遇冒险。

On our upcoming album, we wanted to create an evolved version of the classic Louis the Child style, including elements of future bass, house, indie, drum and bass, and garage. We wanted to bring back the songwriter aspect and support it by bubbly vibrant production. This time around, we didn’t have an overarching storyline theme like we did for Here For Now, as I was going through a heavier moment in my life at the time, but we have more of a stylistic-production theme, and the idea for the cloud monsters. We feel like this period in our lives feels like a series of fun creative adventures with our friends, and the cloud monsters portray that nicely.

M：你们的音乐往往能在流行与电子之间找到完美的平衡点，我们很好奇在此背后，是否有什么独立小众或地下的电子体裁为你们提供了大量灵感来源？
Your music often strikes a perfect balance between pop and electronic elements. We’re curious if there are any alternavtive or underground electronic genres that have provided you with a wealth of inspiration behind this balance.

F：我们不挑食，喜欢几乎所有的音乐风格，并从中汲取灵感。

像Bon Iver、James Blake那样的优美独立音乐，像Passion Pit、Neon Indian、Two Door Cinema Club那样生动的独立音乐；

像Robert Glasper、A Tribe Called Quest、Kendrick Lamar那样的爵士嘻哈，像Robin S、Disclosure、Calvin Harris、Dajae、Green Velvet、Chris Lake那样的浩室舞曲制作人；

像Rusko、Skream、Caspa那样的早期Dubstep艺术家；

像Odesza、Sweater Beats、Hermitude那样的modern Future Bass艺术家;

像Kanye West、Jay-Z、J Dilla、Pete Rock那样的2000年代说唱音乐人；

像Sonny Rollins、Sonny Stit、Dizzy Gillespie、Wes Montgomery、Joe Pass那样的经典爵士乐…

我们喜欢有灵魂和情感的音乐，同时融合了出色的节奏和编曲。

We love nearly all music styles, and pull inspiration from just about everything. Pretty indie music like Bon Iver, James Blake, vibrant indie music like Passion Pit, Neon Indian, Two Door Cinema Club, jazz-hip hop like Robert Glasper, A Tribe Called Quest, Kendrick Lamar, house artists like Robin S, Disclosure, Calvin Harris, Dajae, Green Velvet, Chris Lake, older dubstep artists like Rusko, Skrillex, Caspa, Flux Pavilion, modern future bass artists like Odesza, Sweater Beats, Hermitude, 2000s rap/producers like Kanye West, Jay-Z, J Dilla, Pete Rock, Classic Jazz like Sonny Rollins, Sonny Stit, Dizzy Gillespie, Wes Montgomery, Joe Pass. The list goes on, we love music with soul and emotion mixed with great rhythms and arrangements.

M：当下你们最欣赏的电子音乐人/组合都有谁？为什么吸引你们？
Who are your current favorite electronic music artists or groups? What aspects of their music attract you?

F：我们一直仰慕Skrillex、Madeon、Porter Robinson、Odesza、Rusko、Disclosure等许多音乐人。他们在音乐中投入了大量的心血和灵魂，并且非常注重细节质量、能量和音乐性。
We’ve always looked up to Skrillex, Madeon, Porter Robinson, Odesza, Rusko, Disclosure, and many more. They put a lot of heart and soul into their music and have a great focus on detail, energy, and songwriting.

R：我一直很欣赏那些能够在编曲和作曲两个方面都颇有造诣的电子音乐艺术家。有很多优秀的制作人，但有时候我们这个领域的人会忽视歌曲写作(音乐性)。对我来说，歌词有意义也是非常重要的，甚至是我听音乐时最关注的部分。
I’ve always appreciated electronic artists that can pair great production with great songwriting. There’s plenty of great producers, but sometimes people in our world overlook songwriting. It’s so important to me that the lyrics mean something. It’s what I listen to the most when I listen to music.

PART.3 公式之外的冒险
Adventures Beyond the Formula

M：你们不仅是EDC、Ultra等大型电音节的常客，而像 Coachella、Lollapalooza 这种家喻户晓的综合型音乐节或是“红石”这样的限定演出场地，都乐于邀请你们代表电音领域登台演出，依你们看LTC对这类主办方更有吸引力的缘由何在？
You’re not only regulars at major electronic music festivals like EDC and Ultra, but also invited to perform at well-known multi-genre music festivals like Coachella and Lollapalooza. In your opinion, what are the reasons why LTC is more attractive to organizers of such events?

F：我认为我们的音乐最适合(不止有EDM的)综合类音乐节，因为我们的音乐本身就是多元化且融合了多种风格的。

我们当然可以在任何地方进行充满乐趣和高能量的表演，但我们更喜欢在那些人们可以唱出歌词并感受歌曲意义的地方演奏我们的歌曲。我们尽力使制作、旋律、和弦和编曲都能吻合歌曲的意义，所以像Coachella和Lollapalooza这样的音乐节是展示这些的好地方。
I think our music fits in best at multi-genre festivals, because our music is so multi-genre’d and genre blending. We can definitely spin a fun, high energy DJ set anywhere, but we love to play our songs where people can sing the words and feel the meaning of the song. We try to fit the production, melodies, chords, and arrangement to match the meaning of a song, so festivals like Coachella and Lollapalooza are a great place to showcase that.

R：是的，我认为综合型音乐节的粉丝更期望完整的歌曲结构。大多数在这些音乐节演出的乐队都在表演有正式主歌和副歌的完整曲目。有时候电子音乐节的粉丝更感兴趣的是那些歌词不多的音乐，这也完全没问题。
Yeah I think that the fans at the multi genre festivals are more used to full song structures. Most other bands playing those festivals are singing full songs with proper verses and choruses. Sometimes fans at electronic only festivals are more interested in music that doesn’t have as many lyrics, which is totally cool.

M：这些音乐节的booking工作是否也会以”百大DJ排行榜“为参照标准呢？
Do these music festivals’ booking decisions also rely on the “Top 100 DJ” rankings as a reference standard?

F：事实上，我从未听说我们这边的任何主办方、艺人booking、经纪人、粉丝或朋友提及过TOP 100 DJ榜单。更重要的是创作对人们有意义的歌曲，让人们喜爱并希望与朋友一起现场聆听的音乐。
I’ve actually never heard any promoters, talent buyers, agents, fans, or friends reference the top 100 dj’s list. It’s better to create songs that mean something to people, and that people love and want to hear live with their friends.

R：是的，那份榜单现在看有点像个笑话
Yeah that list is kind of a joke at this point.

M：你们尤其擅长live-set的表演方式，你们对live-set有哪些特别的理解？
LTC are particularly skilled in live-set performances. What special understanding do you have about this way of showing?

F：我们已经当了十多年DJ，并且在任何时刻都能灵活变换方向，能够读懂当晚观众的情绪和能量。我们热衷于切换音乐类型，让人们保持兴奋和期待。我们不喜欢陷入任何公式或模式，只想提供一种让人们对接下来会发生什么感到好奇的有趣体验。

在创作歌曲时，我们也会演奏乐器，并且在现场演出时经常会使用键盘、鼓，有时还会唱歌。这样现场表演感觉很不同，当你展示一个自己创作的项目时，这种方式会让人感觉非常满足。

We’ve been DJing for over 10 years now, and have a great ability to change directions at any moment, and read the crowd to see what energy they’re on that night. We like to switch genres, and keep people on their toes. We don’t like falling into any sort of formula or pattern, we just want to provide a fun experience where you’re curious what will come next.

We also play instruments when we’re creating songs, and have a lot of fun  playing live sets with keys, drums, and sometimes singing. It feels different to perform live that way, and when you’re showcasing a project that you’ve created, that can feel like a fulfilling way to do it.

R：多年来我们看了很多演出，能够识别出自己对演出现场喜欢与否的地方。要成为一名出色的表演者，你也必须是出色的听众，站在粉丝视角去体验。
I also think that over the years we’ve gone to a lot of shows and are able to recognize what we do and don’t like about concerts. In order to be a great performer, you also have to be a great fan and understand the fan experience.

PART.4 让自己有趣起来！
Make Yourself Interesting!

M：话说美国是否有电子音乐相关的综艺节目？
Are there any variety shows or TV shows in the US about electronic music?

F：据我所知目前没有这样的竞演综艺，但给参赛者提供(授权)Remix歌曲的这种模式可能会比较奏效，以拉近各方了解producer对歌曲制作的方式。但我认为这可能会存在风险，即最终在舞台上可能只顾得上突出作品最张扬的那部分，但电子舞曲作品中有时一个舒缓的氛围段落也非常重要，我更主张多样性。
There aren’t any that I know of, but it could be really cool to give contestants an opportunity to remix songs, to see what their interpretations of the song production would be. But I think it would have the risk of ending up highlighting only the most exciting and in your face dance music, but sometimes a nice chill vibe is also really great. I would encourage variety.

M：是否有听说过来自中国的电子音乐人？
Have you ever heard of any electronic artists from China?

F：暂时还没有（据我所知），但我会非常感兴趣你们的推荐！
I haven’t yet (That I know of) but I’d be very interested to hear your recommendations!

M：比如Howie Lee、Yu Su、Chace、3ASiC、Radiax、Dirty K、血男孩Bloodz Boi、高嘉丰Jiafeng、Taiga等等还有不少，可以拿个本本记下来回头了解一下hahah~
For example, Howie Lee, Yu Su, Chace, 3ASiC, Radiax, Dirty K, Bloodz Boi, Jiafeng, Taiga, and many more. You can jot them down in a notebook and explore them later, hahah~

M：从你们的角度看，中国电子音乐人若想在世界上取得成功，有哪些难 点和优势？
From your perspective, what are the challenges and advantages for Chinese electronic musicians to succeed internationally?

F：成为一名全职音乐人，即使只在国内也非常困难，必须得在发行质量和努力方式上保持一致，即音乐好、方式也得对。当今互联网时代，你可以凭借各种各样的风格来开创自己的音乐事业，无论是以歌曲为基础还是以制作为基础。归根结底，在舞曲音乐领域，你需要呈现一个让人们沉浸在音乐中的有趣表演，甚至只是为人们和他们的朋友提供一个愉快的环境。
making a career as a musician is very difficult even nationally, but it really takes a lot of consistency in releases, quality, and effort. But in this day and age, with the internet, you can make a career with a large variety of styles, whether they’re song based, or production based. At the end of the day, with dance music, you need to put on a fun show where people are engaged in the music, or even just provide a fun environment for people and their friends.

最后，我们还征集到两位电子音乐骨灰爱好者，同时也是多年的LTC忠实粉丝投稿的问题。
Finally, we also received submissions from two electronic music aficionados who are longtime Louis The Child loyal fans and enthusiasts.

“要旋律还是要音色设计？为啥得做选择，我全都要”—— @Lín：
“Melodies and design sense, I want them all” – Electronic music enthusiast @Lín:

你们介绍自己曾推出的beat mixtape专辑 ( ‘Candy’ 系列和 ‘Black Marble’ ) 是更具实验性和反常规的，通常来说艺人试图创作路线区别较大作品时会以其他化名进行，但你们似乎并未这样打算。想了解下你们是怎样考量这个问题的？
You introduced your beat mixtape albums (‘Candy’ series and ‘Black Marble’) as more experimental and unconventional. Typically, artists attempt to create significantly different works under a different alias, but it seems you didn’t intend to do so. I’d like to understand how you considered this issue?

F：我们本可以为这些项目设置独立的小号，但我们把Louis The Child视为Freddy和Robby，这是我们一起创造的，代表了我们是谁，我们对什么感兴趣。

如果我们想要做一个Rap+Disco+Soul的项目，我们也希望这个项目能以Louis The Child的名义呈现出来。我们宁愿给自己留下创造性的自由来进行实验，并创造出多样性和差异性的期望。当我们创作专辑或项目时，我们希望该项目具有明确的意图或灵感。每个项目都是相对独立的存在，但也都是在塑造自己的世界。
We could have made separate aliases for those projects, but we view Louis The Child as Freddy and Robby, it’s what we make together, who we are, what we’re interested in. If Louis the child wants to make a rap-disco-soul project, we’d like that to come out as Louis The Child. We’d rather allow ourselves the creative freedom to experiment, and create an expectation of variety and diversity. When we create an album or project, we’d like that project to have a specific intention or inspiration. Each project can live on its’ own and be its’ own world.

R：保持着手这么多不同的分支项目会更困难，但突破我们原有涉猎范围的过程也更有趣。分支项目对于充分了解和期待你的那些听众也是一种回馈，给予了他们更新的刺激。
It would get hard to follow so many different side projects, and it’s more fun to broaden the scope of the project we’ve already created. Side projects feel good for something that involves people outside of what you’re already doing.

“我对现在Z世代的电子流行音乐真是又爱又恨” —— @逆流鸽：
“I Love and hate Gen-Z Pop music at the same time” – @CounterflowDove：

你们怎样看待近几年话题度极高的Hyperpop，作为电子音乐与流行音乐的新时代联姻，这种潮流是否也可能冲击到你们的创作模式？
How do you view the highly discussed Hyperpop trend in recent years, as a new era merger of electronic and pop music? Is this trend likely to impact your creative process?

F：其实Hyperpop并没有在创作上激起我们的兴趣，虽然我们也喜欢一些快节奏的音乐，但我们并没有感觉到自己投身于Hyperpop的冲动。尽管如此，我依然喜欢Charli XCX那种融入Hyperpop音乐的方式和感觉。
Hyperpop hasn’t really piqued our interest creatively, we like some faster music, but we haven’t felt the urge to make “hyperpop” ourselves. I do like how Charli xcx incorporates a hyperpop feel though.

R：对我个人来说，它可能会冲击到我但也可能会完全错过，但显然事实是它已经与很多听众建立了链接，这一点倒是让我感到喜闻乐见。很明显音乐趋势在发展变化着，谁知道它潜移默化中对我们产生了多大影响。
It can be very hit or miss for me personally, but it’s clearly connecting with people and I love that. Who knows how much it will impact us, you never know.

由于在许多人心目中，Louis The Child代表的就是EDM最具“姿色”的一面，Mixmag China团队在本篇内容尾声也为大家精选了一份“LTC的必听曲目列表”，请大家随意收藏享用 (有热单亦有冷门精选)

Playlist selection by Mixmag China: 

Louis The Child / Jacob Banks – Diddy Bop [“五十度灰”原声]
Louis The Child – Euphoria [EP: Euphoria]
Louis The Child / K.Flay – It’s Strange [Single]
Louis The Child / Elohim – Love Is Alive [EP: Love Is Alive]
Louis The Child / Wafia – Better Now [EP: Kids At Play]
Louis The Child – Ohhh Baby [EP: Kids At Play]
Louis The Child – We Are Here For Now [专辑: Here For Now]
Louis The Child – Dragnet [专辑: BLACK MARBLE]