Low-Brightness Period


The group is comprised of 廖書逸 (Mark) on vocals and rhythm guitar, 黃仕鴻 (Daryl) on lead guitar, 王唯任 (Ren) on bass and 涂嘉欽 (Chia-Chin) on the kit. They have quickly garnered a lot of attention within the music community nation-wide, which should translate into a bigger legion of fans as well. had a chance to interview all band members before they headed back to Taipei to resume their studies. The boys were admittedly nervous due to the fact that this is the first time anyone has approached them about an interview.

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Photo(s) by © Don Quan - © 2008-2014

When and how did Low-Brightness Period become a band?

We were all classmates at Kaohsiung Normal University Affiliated High School. At that time, we were already good friends, and we all liked music, so we decided to try writing our own songs. We sorta pressured Ren into playing the bass, because nobody else could.

Can you describe your band’s music?

That’s kind of hard for us to self-describe, but a lot of people have told us our music most resembles ‘post-rock’, while other tracks have a ‘lo-fi’ feel about them. It’s probably because we all like a lot of different music, so when the time comes to write songs, we try to put in a lot of different elements.

Can you each tell us which musicians have influenced you, or which musicians you like the most?

Mark: My favorite bands are Joy Division and Radiohead, but as far as influences, that’s a bit hard to say, because I like so much different stuff, like folk and punk. So, I guess all these different styles have influenced me.

Daryl: I like Fire Ex, Touming Magazine, Wayne’s So Sad, Aphasia, 1976.

Ren: The biggest influence for me is The Clash, and my favorite band is Joy Division.

Chia-Chin: The artists that have influenced me a lot are: Touming Magazine, Aphasia, Lin Sheng-Xiang, Gen Hoshino, malegoat, No Age, Phoenix and Wavves.

Will you be recording or releasing any EP or CD in the near future?

Owing to a lack of funds and a shortage of songs, right now all we have are some demos that people can listen to online. Once we’re more prepared, we’ll have a follow-up plan to record. Hopefully that won’t be too long!

Why do you think the music scene in Kaohsiung is not as vibrant compared to Taipei’s scene?

Chia-Chin: As far as Taipei compared to Kaohsiung, there are way more bands/musicians in the north, and also more places for bands to play. There’s more consumer spending power, more shows (with international acts), more music festivals, more events at live venues, etc. On the other hand, as far as Kaohsiung goes, the atmosphere is more suitable for playing in a band, I feel. There’s a better chance of developing music with unique characteristics here than in Taipei, in my opinion.

Mark: I feel that this is just one big loop. Taipei’s indie music scene developed much earlier, so naturally there are more people now interested in playing in a band. So, the more bands that appear, the more the scene thrives and flourishes.

Ren: I feel Kaohsiung folks need to become a bit more daring!

Daryl: Taipei’s indie bands, fans, recording facilities, etc. far outnumber those in Kaohsiung. Before The Wall opened in Kaohsiung, bigger-name foreign bands often would just play in Taipei. Kaohsiung’s situation was relatively worse off back then. Audiences and bands are primarily comprised of students. Although The Wall and The Mercury started bringing in all these great bands, they’ve further embraced Kaohsiung’s young student bands, because of the disappearance of many of the city’s other venues. Since the closing of Indie Live House, ATT, Join Us and Living Room, opportunities for young bands to play have become scarce. This is a problem that the city of Kaohsiung needs to address.

With respect to this problem, what do you think can be done to improve Kaohsiung’s scene?

Mark: I believe Kaohsiung already has some quality live venues. If there could be a few more opening up, that would be very helpful. If there are more venues, there are more opportunities for bands to play. If the bands consistently put on quality shows, fan interest should increase. The whole scene would slowly but surely improve. But of course a prerequisite would be that the bands themselves have to work harder.

Daryl: I feel that promotion/publicity of bands ands events is very important. We need to increase the awareness of music fans, and at the same time increase the number of folks who are sorta thinking about playing in a band. I think the problem of lack of venues and resources for musicians can be resolved. Kaohsiung’s scene can be spurred on.

Chia-Chin: Decent music shops and practice facilities are also very important.

Ren: Someone needs to put on some insane event that will put Kaohsiung on the map, and that will make everybody think: “That was fucked up! That was ballsy!”

You’re all students still. What are your long-term plans and goals? Will you continue to play music after you’ve all graduated?

Daryl: Someday down the road, maybe we’ll all have different jobs, but this band will continue on, barring the possibility that we all starve to death doing it.

Ren: We’re all really close friends, so we’ll probably play music together forever. It would be cool someday in the future, we’ll be walking down the street and hear someone singing one of our songs. By the way, I’m not a student at the moment. I’m actually just preparing to enter university.

Chia-Chin: Although we haven’t any concrete plans, my hope is that we all continue to play together.

Mark: The band will definitely continue on. As for our goal, that’s simple. We want more and more people to hear our music, and get what we’re trying to convey.

You can find Low Brightness Period on Facebook and Blogspot

Don Quan is an independent filmmaker, proprietor of The Mercury Bar in Kaohsiung and longtime supporter of indie music in Taiwan. When he grows up, he wants to play in a rock and roll band.

Search all articles by Don Quan

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