[Special Features 特別專題] Good Tiger 北美巡演與專訪 – We Will All Be Gone

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Good Tiger —— 由深受不少香港樂迷喜愛的The Faceless 前鼓手 Alex Rudinger Tesseract 主唱 Elliot Coleman The Safety Fire 結他手 Derya Nagle Joaquin Ardiles 合作的 metalcore / progressive rock supergroup 超級組合,組成以來備受關注!樂隊近月發行了第二張備受高度讚譽的專輯 We Will All Be Gone,音樂上在技術和情感層面上遊走,相信喜愛技術型及Emo/Post-hardcore音樂的樂迷都會喜歡。上星期我們會參與樂隊全場滿座的北美巡演及進行獨家專訪,可惜Alex Rudinger因家庭因素而要暫時退出演出,雖然令人有點失望,但整體上 Good Tiger 仍然發揮水準,當中包括了早前收到由香港樂迷提出的問題。(希望Alex家人一切安好吧!)

對於任何認識 Good Tiger 的樂迷來說,相信你會記得樂團最近發行的第二張專輯是眾籌製作的,更在24小時內達到目標金額。這張備受期待的專輯與上一張專輯同樣展示各成員的技術能力,但今次更進一步深入投入情感的懷抱。他們的專場成功地傳遞了相同的層次,尤其在主唱 Elliot Coleman 的聲樂層面,完全令人著迷。

DJ: Dinosaur Journal
GT: Dez Nagle @Good Tiger

DJ: 為什麼把這個音樂企劃會命名為 Good Tiger? 有沒有代表特別的象徵式意義?

GT: 其實這個字背後並沒有真正的意義。當時我們正在尋找一個樂團名字,但要想避免一些不會使樂隊被標籤為某種特定聲音的字詞,最後也花了好一些時間找到令所有成員都很滿意的名字。當有人提出「Good Tiger」時,每個人都很喜歡它帶出的感覺,非常貼近整個意念。

DJ: 每個 Good Tiger 的成員最初都各自屬於另一個音樂團體。你們又是怎麼聚在一起建立這個新團的?

GT: (Dez) Jo原本在The Safety Fire中演出。在多年的巡演路上遇到了不少有才華的音樂人和團隊成員。這是一次很棒的經歷,很興幸我們 (在有這個意念之後) 聯絡上的人便有興趣加入這個企劃。

Good Tiger 的第一張專輯經常令我們想到 At The Drive-in。來到新專輯 WWABG 時,很明顯樂隊對「Good Tiger」所代表的意義有更明確的目標,以金屬核/後硬核刀鋒雕琢那個 progressive metal 的主體。當通過擴音器放大時,器樂和人聲層次聽起來令人著迷。今次的歌單涵蓋了他們最新專輯中很多新歌曲。 Such a Kind Stranger 和單曲 Float On 在現場的效果最精彩。樂隊在演奏Blueshift 時在現場立即要求把台上登光調到全藍色,更謂:「Blue light for blue song!藍色(憂鬱的)歌曲要配上藍色的光!」

DJ: Good Tiger 的創作總帶著很多美麗、充滿情感的故事,當中你們的音樂與歌詞的靈感來自甚麼?

GT: 總括來說,大部分都是與生活所遇到的有關。我們從自己的經歷和一般意識形態中理想中吸取,再通過故事講述敘述出來。大家嘗試在其中尋找到有同感的題材,再以不同方式道出所想。在音樂方面,我們受很多不同的影響,很難說各方面是如何集結而成的,但肯定的是不論在任何時候,只是有任何想實行的意念就必定會付諸實行。

DJ: 你們開始計劃下一張專輯了嗎?它會更像 67 Pontiac Firebird 比較「重型」的,還是更貼近We Will All Be Gone 較旋律化?

GT: 我們暫時還未有新音樂計劃,即使有也很難說音樂會偏向那一個方向到。我從來不會回顧過去出版的專輯來確定未來的發展。

雖然 Good Tiger 在剛成立時看似只是一個one-off的項目,但當樂團發佈頭幾個歌曲後,樂評人和樂迷的迴響也非常正面,似乎樂隊短期內也會以這個名字繼續下去,相信很多粉絲都在等待 Good Tiger 的第三個出品!

DJ: Good Tiger 有沒有作亞洲巡演的計劃?你有什麼想對亞洲的樂迷分享?

GT: 雖然我們目前也未有還沒有Asia Tour的計劃,但很希望會能來到亞洲表演,這絕對是樂隊中每個人都會為之興奮的事情!

Good Tiger 的第2張專輯 We Will All Be Gone2月經已上市。

★     ★     ★     ★     ★     ★     ★

The Faceless + Tesseract + The Safety Fire — sounds fierce? Good Tiger, the metalcore / progressive metal supergroup formed by Hong Kong metal community’s favorite drummer Alex Rüdinger, ex-Tesseract vocalist Elliot Coleman, ex-The Safety Fire guitarists Derya Nagle and Joaquin Ardiles, never failed to surprise you with their highly emotional, astonishing progressive metalcore songs filled with beautiful messages and stories. The band’s critically acclaimed latest album, ‘We Will All Be Gone” transcends both the technical and emotional level. We have joined the band in their sold-out North American Tour last week; although Rüdinger had pulled out the show because of family issues (family always come first!), the band still brought it to the top with their infectious live set.

DJ: Dinosaur Journal
GT: Dez Nagle @Good Tiger

DJ: Why did you name this project as “Good Tiger”? Any symbolic meaning?

GT: There is no real meaning behind it. When we were looking for a name we wanted something that wouldn’t pigeon hole the band in to one particular sound. It took some time to find a name we were all happy with, but when “Good Tiger” was brought forward everyone liked the vibe and feeling it brought.

For anyone who knows Good Tiger, you may remember their recently released 2nd album is actually a crowd-funded project. The band reached the target fund within 24 hours. This highly anticipated album shares the same technical focus but dive further into the embrace of emotional expression. Their live delivers the same analogy successfully which is totally mesmerizing, especially on the vocal level.

DJ: Each member of Good Tiger was tied to another project initially. How did you all come together for this project?

GT: Myself and Jo played in a band before this called The Safety Fire, which toured for a number of years and along the way we met some great musicians and people. It was a great experience and thankfully the first people we contacted to do this were the people who were interested in joining the band.

Good Tiger often reminds us of At The Drive-in and alike with their first album. When it comes to WWABG, it’s clear that the band have a far clearer vision of what Good Tiger is about. The progressiveness is shaped with the blade of in-trend metalcore / post-hardcore.The instrumental and vocal layering sounds phenomenal when amplified through the stereo. The set covers lots of the new song off their latest album. “Such a Kind Stranger” and their single cut “Float On” seem to stand out the most – smooth, rich and powerful. The stage is washed by blue light as the band request for “Blueshift,” as what Elliot Coleman “blue light for blue song!”

DJ: In Good Tiger’s music, there seems to be a lot of beautiful, emotional stories to tell. What is your basic inspiration, both musically and lyrically?

GT: I think life in general. We have drawn from our own experiences as well as general ideologies which are then told through stories. We try to find relatable topics and just speak our mind in one way or another. Musically we have so many influences it would be hard to say how it all comes together, but we just bring forward the things we want to at any given time.

DJ: Any plans for the next album yet? Will it be more towards the “heavier” side like “67 Pontiac Firebird” or more “melodic” like ‘We Will All Be Gone’?

GT: We aren’t working on any new music just yet, but once we do it is hard to say exactly where the music will go. I don’t ever want to look back at our previous records to help decide what we do next.

Although when Good Tiger started out, it seemed to be just an one-off, side project of these talented guys, from the positive reception of both the critics and fans, it looks like the band will not call it quit anytime soon. We are pretty sure lots of fans are waiting for the 3rd Good Tiger release already!

DJ: Do you have any upcoming plans to have an Asia Tour? And do you have anything want to say to your Asia fans?

GT: No plans just yet, but we would love to come to Asia. It’s definitely something everyone in the band would be excited to do.

Good Tiger’s 2nd album ‘We Will All Be Gone’ was out in February this year.