Jack 是一名图书管理员，他把工作时间缩短到每天大约四个小时，只为了给阅读、交谈和写作留下更多时间。对他来说，这并不是逃离生活，而是第一次看清自己曾经深信不疑的生活规则——工作并不是人生唯一的中心。 《Jack》写的是那个醒来的瞬间：当一个人终于发现，原来没有什么“必须如此”的人生，而一个空出来的下午，也可以成为真正属于自己的时间。 Jack is a librarian who reduced his working hours to around four a day, leaving more time for reading, conversation, and writing. For him, it was not an escape from life, but a moment of waking up to an idea he had always taken for granted: work does not have to be the centre of everything. “Jack” is about that moment of waking up—the discovery that there is no single way a life has to be lived, and that an empty afternoon can be something truly your own. 一南 | Yinan

Matthew 学过哲学，也曾认真寻找过工作，却始终不太愿意把自己交给一份职业。他喜欢写作、思考，也喜欢那些没有明确目的的时间；当别人问起“你是做什么的”，一句“我失业了”常常比“我是作家”更容易说出口。 《Matthew》写的是一个年轻人如何在“不工作”的状态里，慢慢找到自己的生活——自由是真实的，经济上的不安也同样真实，而他仍愿意把明天留给自己。 Matthew studied philosophy and looked for work, but he never felt ready to give his life to a career. He liked writing, thinking, and having time with no clear purpose. When people asked, “What do you do?”, saying “I’m unemployed” was sometimes easier than calling himself a writer. “Matthew” is about a young man trying to build a life outside work—a life with real freedom, but also real financial fear, and still choosing to leave tomorrow open for himself. 一南 | Yinan

Samantha 曾是一名收入优厚的专利律师，却选择离开职业轨道，只做兼职的服务员和私人教师。她的父母，尤其是母亲，并不理解这个选择，觉得她像是退回了青春期，放弃了本该拥有的“更好的人生”。 《Samantha’s Evening》写的是她重新拥有的夜晚——当别人还在替她衡量得失，她已经坐在酒吧里，慢慢结束一天，也慢慢把生活的时间拿回自己手中。 Samantha was a well-paid patent attorney who chose to leave her professional career and work part-time as a waitress and private tutor. Her parents, especially her mother, could not understand the choice. To them, it felt like she was going backwards, giving up the “better life” she was supposed to have. “Samantha’s Evening” is about the evenings she gets back—while others are still measuring what she has lost, Samantha is sitting in a bar, letting the day end slowly, and quietly taking her time back. 一南 | Yinan

概念专辑 | In Praise of Idleness | 《闲散颂》 1932年，伯特兰·罗素写下《闲散颂》（In Praise of Idleness）。 他提出了一个简单而又大胆的问题： 如果我们不必把生命的大部分时间用来工作，我们会怎样生活？ 八十多年以后，英国社会学家大卫·弗雷恩（David Frayne）在《对工作说“不”》（The Refusal of Work, 2015）一书中，重新走进这个问题。 他没有只讨论理论。 他去采访那些正在尝试改变自己与工作的关系的人——有人离开工作，有人减少工作时间，有人因为疾病停止工作，有人换了一份收入更低却更喜欢的工作，也有人只是想把每天的一点时间重新拿回来。 本张概念专辑从这些真实的访谈出发。 Lucy、Emma、Samantha、Bruce、Matthew、Clive、Larry、Jack、Adam，以及其他书中的人物，成为一首首歌曲的主人公。 每一首歌，都献给其中一个人。 他们不是理论的例子，也不是某种社会运动的英雄。 他们只是一个个具体的人。 有人想多陪陪孩子。 有人想读书。 有人写作。 有人做饭。 有人做手工。 有人照顾动物。 有人提前一个小时下班。 有人从律师变成酒吧里的服务员。 有人不知道怎样回答： “你是做什么的？” 他们的生活里有快乐，也有羞耻；有自由，也有孤独；有轻松的下午，也有无法解释自己的时刻。 他们只是慢慢发现： 也许生活并不只发生在工作以后。 这不是一张关于“反对工作”的专辑。 它更像是在问： 当一个人把一点时间从工作那里拿回来以后，他会成为怎样的人？ 一杯茶。 一本书。 一顿饭。 一只猫。 一个下午。 一次没有目的的散步。 那些没有被写进简历的时间。 那些没有创造任何价值、却依然属于我们的时间。 这张专辑献给他们。 也献给每一个曾经想过： 我能不能少工作一点， 然后多生活一点？ In 1932, Bertrand Russell wrote In Praise of Idleness. He asked a simple, radical question: What would we do with our lives if we did not have to spend most of them working? More than eighty years later, the British sociologist David Frayne returned to this question in his book The Refusal of Work (2015). But Frayne did not only write about ideas. He spoke to people who were trying, in different ways, to change their relationship with work. Some left their jobs. Some reduced their hours. Some stopped working because of illness. Some changed to less demanding, lower-paid jobs. Others simply wanted to take back a little time each day. This album begins with those real conversations. Lucy, Emma, Samantha, Bruce, Matthew, Clive, Larry, Jack, Adam, and others from Frayne's book become the subjects of these songs. Each song is dedicated to one of them. They are not examples of a theory. They are not heroes of a movement. They are simply people. People who want more time with their children. People who read. People who write. People who cook. People who make things. People who look after animals. People who leave work an hour early. People who leave a career in law for a job behind a bar. People who do not know how to answer: “What do you do?” Their lives contain pleasure and shame, freedom and loneliness, quiet afternoons and difficult questions. They are slowly discovering something very simple: Perhaps life does not begin when work is finished. This is not an album about being against work. It is about a quieter question: Who do we become when we take some of our time back from work? A cup of tea. A book. A meal. A cat. An afternoon. A walk with nowhere to go. The hours that never appear on a CV. The hours that produce nothing, and yet belong to us. This album is dedicated to them. And to anyone who has ever wondered: Can I work a little less, and live a little more? -- Track 01. Lucy Lucy 是这张专辑献给书中人物的第一首歌。 在 David Frayne 的《The Refusal of Work》中，Lucy 和 Matthew 是一对因为离开全职工作而重新安排生活的年轻伴侣。 Lucy 喜欢读书、做手工、照顾动物，也喜欢那些没有特别目的的日子。 她想要一个家。 她甚至希望有很多孩子。 但这些愿望并不总能得到理解。在一个人的价值常常通过职业、收入和“你是做什么的”来衡量的世界里，Lucy 的生活看起来似乎“不够成功”，甚至让她觉得自己辜负了父母的期待。 可是她只是想要另一种生活。 一种有时间读书、有时间做东西、有时间陪伴所爱之人的生活。 这首歌没有试图替 Lucy 解释什么。 它只是陪她度过一个下午。 Lucy has time. Lucy is the first song on the album dedicated to one of the people interviewed by David Frayne in The Refusal of Work. Lucy and Matthew are a young couple who have stepped away from full-time work and begun to live differently. Lucy reads. She makes things. She looks after animals. She enjoys days with no particular purpose. She wants a home. She wants children — many children. But these desires are not always understood. In a world where a person's worth is often measured by their career, their income, and the answer to “What do you do?”, Lucy's life can look like a failure. At times, she feels that she has disappointed her parents. But she wants something very simple: A life with time to read. Time to make things. Time to love. Time to be. This song does not try to explain Lucy. It simply stays with her for an afternoon. Lucy has time. 一南 | Yinan

如果整个世界都是一个游乐场， 你今天会怎么玩？ 我们习惯把城市当成一个有明确规则的地方： 道路告诉我们怎么走， 建筑告诉我们怎么进入， 公园告诉我们在哪里玩。 但如果我们暂时忘掉这些规则呢？ 也许一块空地不只是空地， 一面墙不只是墙， 一座小山不只是景观。 它们也许可以成为一条秘密通道、 一座可以攀爬的山、 一个藏起来的舞台， 甚至是一场只有你自己知道规则的游戏。 从 Isamu Noguchi 的 Play Mountain， 到 Aldo van Eyck 在阿姆斯特丹创造的城市游乐场， 再到那些由孩子自己决定怎么玩的空间—— 这些艺术家、建筑师和城市设计者真正改变的， 或许并不是“游乐场长什么样”， 而是一个更简单的问题： 一个空间，可以允许我们有多少种可能？ 孩子来到一个地方， 通常不会先问：“这里应该怎么玩？” 他们会直接开始玩。 所以，这首歌想把一个很简单的问题留给你： 如果世界真的是一个游乐场， 你会先去哪里？ 你会怎么玩？ 今天，试着走一条没有人告诉你的路。 爬上一座本来不该爬的山。 坐在一块本来不是座椅的石头上。 或者只是停下来，看看这个城市还能不能有另一种玩法。 🌍 The World Is a Playground If the whole world were a playground, how would you play today? We are used to thinking of the city as a place with clear rules: Roads tell us where to go. Buildings tell us how to enter. Parks tell us where we are supposed to play. But what if, for a moment, we forgot those rules? Maybe an empty lot is not just an empty lot. A wall is not just a wall. A hill is not just part of the landscape. Maybe they could become a secret passage, a mountain to climb, a hidden stage, or even a game whose rules only you know. From Isamu Noguchi’s Play Mountain, to Aldo van Eyck’s playgrounds scattered throughout Amsterdam, to the spaces where children are free to decide what to do— what these artists, architects, and urban designers really changed was perhaps not what a playground should look like, but something much simpler: How many possibilities can a space allow? When children arrive somewhere, they usually don't ask, “How am I supposed to play here?” They simply start playing. So this song leaves you with a very simple question: If the world really were a playground, where would you go first? How would you play? Today, try taking a path nobody told you to take. Climb a hill you were never meant to climb. Sit on a stone that was never designed to be a chair. Or simply stop for a moment and see if this city might have another way to be played. The world is a playground. Maybe we just forgot how to play. #TheWorldIsAPlayground #城市与游戏 #公共空间 #IsamuNoguchi #AldoVanEyck #Playground #UrbanDesign #Architecture #艺术专辑 #概念专辑

一首关于“坐下来”的歌。乌德琴的温暖旋律、克制的达卜卡节奏和轻柔的环境电子，描绘巴格达街头一个普通座椅旁的片刻。没有宏大的叙事，只有阳光、风、茶、路人和短暂的陪伴——一张椅子，也可以成为一个人停下来、呼吸、感受城市与家的地方。 A Seat from Baghdad A quiet song about a simple seat in a busy city. Oud strings, soft darbuka, and warm ambient sounds create a small space to pause, breathe, and watch Baghdad pass by. A chair becomes a place for stories, friendship, and a moment of home. 一南 | Yinan

泰国拳击场的身体感进入哥本哈根夜晚：拳脚的节奏、街头霓虹和一点法式爵士的慵懒。像一个人在 Nørrebro 的夜里走路，脚步慢慢变成舞步，拳击变成游戏，陌生的城市变成自己的擂台。整体简单、性感、有一点孩子气的野性。 Muay Thai in Nørrebro A late-night meeting of Muay Thai rhythm and Copenhagen street jazz. Deep drums, soft brass, loose footsteps, and a little Bangkok heat under the cold Nordic sky. The fight becomes a dance, the street becomes a ring, and the night moves with a playful, physical pulse. 一南 | Yinan

《The Bus Stop from Almaty》从一个孩子等待公交车的下午开始。蓝色的站亭、金色的草原、远处的群山和慢慢经过的风，在孩子的想象里变成了一场奇妙的宇宙旅行——云朵在等车，星星是乘客，最后甚至有一辆载着小外星人的银色公交车从天空驶来。歌曲以哈萨克斯坦的草原意象为底色，将中亚绵长旋律、手鼓与弦乐融入轻盈的法国爵士，让一个来自遥远阿拉木图的公交站，变成孩子通往星空的入口。 “The Bus Stop from Almaty” begins with a child waiting at a small blue bus stop. The golden steppe, distant mountains, passing wind, and wide open sky slowly become a world of imagination—clouds become passengers, stars wait for the bus, and eventually a silver vehicle carrying little aliens arrives from the sky. Blending Central Asian long-tone melodies, hand drums, and strings with French Jazz, the song turns a bus stop from Almaty into a magical doorway between the steppe and the stars. 一南 | Yinan

《The Octopus Playground》写一对年轻恋人在哥本哈根的一个夏日午后。他们没有解释自己从哪里来，只从清晨的两杯茶、床下的小行李箱，到街上的自行车、红色围巾，以及最后遇见的章鱼形游乐设施，让一个悄悄改变生活的故事浮现出来。东京的记忆藏在细小的日语碎语里，而新的城市则在北方的天空、金色的下午和两个人的牵手之间慢慢展开。歌曲以 French Jazz 为骨架，融入轻盈的 Tokyo electronic pulse，像一首关于爱情、迁徙与“家”的小小俳句。 “The Octopus Playground” follows a young couple through an ordinary afternoon in Copenhagen. Their story is never explained directly; instead, it appears in small details—a kettle, two cups of tea, a suitcase under the bed, a red scarf, bicycles, and finally a giant octopus reaching toward the sky. Tiny Japanese phrases carry traces of Tokyo, while the northern light and quiet streets become part of their new life. Blending French Jazz with a subtle Tokyo electronic pulse, the song becomes a romantic, haiku-like meditation on love, movement, and finding a little home in a new city. 一南 | Yinan

这是一张以哥本哈根 Nørrebro 社区的 Superkilen 为灵感的概念专辑。这个独特的城市公园由 BIG、Topotek 1 与 Superflex 等共同设计，将来自世界各地的公共物件、家具、游乐设施与树木带入同一个社区——摩洛哥喷泉、日本游乐设施、哈萨克斯坦公交站、泰国拳击场、伊拉克座椅……让一个多元移民社区的“世界”真正进入日常生活。 六首歌分别从这些来自不同文化的城市物件出发，将它们的地方声音、节奏与音乐想象，与法国爵士和现代城市音乐融合。整张专辑从一个孩子眼中的红色喷泉开始，经过不同国家的声音，最终汇聚成 《The World Is a Playground》：一个属于所有人的世界游乐场。 This concept album is inspired by Superkilen in Copenhagen’s Nørrebro, a unique urban park designed by BIG, Topotek 1, Superflex and others. Created with the diverse local community, the park brings objects, furniture, playgrounds and trees from around the world into one neighborhood—from a Moroccan fountain and a Japanese playground to a Kazakh bus stop, a Thai boxing ring and Iraqi seating. Each of the six songs begins with one of these objects and its place of origin, blending local musical colors and rhythms with French jazz and contemporary urban sounds. The journey begins with a little girl playing in a red fountain and ends with “The World Is a Playground”—a world where different cultures meet, play, and become part of the same city. Track 01. The Red Fountain 《红色喷泉》从一个六岁小女孩的视角出发。她把 Nørrebro 街区里的红色喷泉当成自己的小小王国：水珠里藏着太阳，阳光里长出彩虹，而每一次跳跃都像是在和整个世界玩耍。歌曲以轻盈俏皮的法国爵士为骨架，加入一点摩洛哥的语言与节奏色彩，写一个充满想象力、调皮又自由的孩子眼中的城市。 “The Red Fountain” is seen through the eyes of a mischievous six-year-old girl who turns the red fountain in her Nørrebro neighborhood into her own little kingdom. She sees the sun inside the water drops, finds rainbows in the spray, and turns every splash into an adventure. Playful French jazz meets subtle Moroccan colors, creating a small, joyful world where imagination can make an entire city feel like a playground. 一南 | Yinan

《Babylon Keeps Moving》是一首充满童趣与幻想感的未来爵士童谣。歌曲把 Babylon 想象成一座会移动、会变形、会做梦的玩具城市：迷你汽车、机器人鸟、会跳舞的塑料树、戴帽子的紫色小鱼，一切都像孩子手里的未来玩具。音乐以轻盈俏皮的爵士律动为核心，结合大量简短、朗朗上口的英文歌词，并加入带有法语色彩的 scat singing，让整首歌像一场在月亮、星星和霓虹城市之间展开的奇幻游戏。结尾的 “Babylon keeps moving” 象征城市永远不会停留在同一个形态——它不断重组、变幻，也不断创造新的梦。 “Babylon Keeps Moving” is a playful, dreamy jazz nursery rhyme set in a futuristic toy city. Babylon is imagined as a living little machine that moves, transforms, dances, and dreams. Tiny cars zoom, robot birds sing, plastic trees dance, and purple fish wear hats. With short, catchy English phrases and playful French-flavored scat singing, the song feels like a child’s imaginary journey through a city made of toys, stars, buttons, and moonlight. The final line, “Babylon keeps moving,” captures the heart of the song: the city never stays the same. It keeps rebuilding itself, changing shape, and dreaming up a new world. BABYLON KEEPS MOVING [Intro — scat] Ba-da, ba-da, boom La-la, petit lune Doo-be-doo, allez Hey! The city wakes [Verse 1] Tiny cars go zoom Silver stars go blink Blue moon in a room What a funny thing Candy clouds above Robot birds can sing Little doors go pop Anything can swing [Pre-Chorus] Turn it left Turn it right Make a town Out of light [Chorus] Babylon keeps moving Round and round we go Babylon keeps moving Fast and soft and slow Tiptoe, little city Jump into the sky Bonjour, mon ami Wave your hands and fly [Scat] Ba-ba-ba, doo-be-doo La lune, la lune, hoo! Shoo-be-shoo, petit chat Oui, oui, allez! [Verse 2] Plastic trees can dance Toy trains cross the moon Purple fish wear hats And sing a silly tune Buttons on the street Make the traffic glow Push one, two, three Now the houses go [Pre-Chorus] Up we go Down we slide Build a world Side by side [Chorus] Babylon keeps moving Round and round we go Babylon keeps moving Fast and soft and slow Tiny stars are bouncing On a yellow train Bonjour, little dreamer Here we go again [Bridge — playful scat] Doo-ba, doo-ba, ding! La petite machine! Bap-bap, boum-boum, hey! On danse dans la cité! Moon goes left Sun goes right Clouds wear shoes Goodnight, goodnight [Final Chorus] Babylon keeps moving Round and round we go Babylon keeps moving Where it goes, who knows? Build it up Break it down Make a new Little town Babylon keeps moving Never stays the same Bonjour, future city Come and play the game [Outro — whispered / scat] Ba-da, ba-da, blue Doo-be-doo, déjà vu Petit rêve, close your eyes... Babylon keeps moving. 一南 | Yinan

一首自由爵士。 故事发生在一座城市边缘、鲜少被人注意的街区。旧楼斑驳，路灯偶尔失灵，狭小的房间里回荡着雨声、公交车驶过的声音。音乐也像这片街区一样自由、凌乱而真实——时而安静，时而嘈杂，在雨水、车流和人声之间，寻找属于自己的节奏。 一南 | Yinan

这是一首把童真、游戏感与旧磁带的幽灵般质感结合在一起的爵士歌曲。歌曲发生在一个空荡荡的游乐场：秋千不断来回，磁带不停重复同一小段声音，孩子一边玩，一边渐渐分不清这是录音、回忆，还是自己听见的声音。 歌词保持非常简单、直接，像一个孩子在自言自语；不断出现的 “Play it again” 像磁带卡住了一样，形成既可爱又有些诡异的循环。法语、scat singing、突然的停顿和重复，让整首歌像一个坏掉却仍然很好玩的儿童玩具。音乐上可以让 tape loop、自由即兴和游乐场般的节奏彼此缠绕，在天真与幽灵感之间不断摆动。 “Tape Loops in the Playground” is an experimental jazz piece that blends childhood innocence, playful repetition, and the ghostly texture of old tape recordings. It takes place in an empty playground where the swings keep moving, a tape keeps repeating the same little phrase, and a child slowly begins to wonder whether the sounds are coming from the tape, from a memory, or from somewhere else. -- Track 04. Tape Loops in the Playground Verse 1 I go up. I go down. Round and round. Round the town. Swing goes high. Swing goes low. Where I go, I don’t know. Chorus Play it again. Play it again. Again, again, again, again. Play it again. Play it again. Hello, hello— then goodbye. Verse 2 The tape says, “Come and play.” I say, “Okay, okay.” The tape stops. Then it starts. Same small song. Same two words. Chorus Play it again. Play it again. Again, again, again, again. Play it again. Play it again. Hello, hello— then goodbye. Little French Part Tourne, tourne, petit manège. Encore une fois. Encore, encore. La-la-la, ça recommence. La-la-la, ça recommence. Scat / Tape Loop Ba-da-ba, ba-da-ba. Doo-doo-doo, do it again. Ba-da-ba, ba-da-ba. Stop— …start. Ba-da-ba, ba-da-ba. Bridge No one is here. I hear a laugh. Ha-ha. Is it me? Ha-ha. The swing moves by itself. One, two, three— Chorus Play it again. Play it again. Again, again, again, again. Play it again. Play it again. Hello, hello— then goodbye. Outro Again. Again. Again. Again— click …hello? click …hello? Ba-da-ba… Ba-da-ba… click 一南 | Yinan

《Mambo for Lost Children》 是一首带着童心和一点荒诞气息的自由爵士 Mambo。歌曲从“迷路的孩子”出发，用非常简单、像六岁孩子说出来的语言，描绘月亮、小猫、会自己走路的鞋子，以及不知道该往哪里去的小小旅程。轻快的 Mambo 节奏和自由爵士的即兴形成反差，让天真的歌词在混乱、跳跃的音乐中变得有些梦幻。间歇出现的法语和 scat singing，则像孩子突然想到什么就唱出来的一样。整首歌既像一场街头游戏，也像一群迷路的孩子在夜里一起跳舞。 “Mambo for Lost Children” is a playful, slightly surreal free-jazz mambo about children who have lost their way. Told in very simple, childlike language, the song follows little images of the moon, a small cat, wandering shoes, and a journey with no clear destination. The light mambo rhythm contrasts with the wild, unpredictable energy of free jazz, creating a dreamlike world where innocence and chaos can dance together. Small touches of French and scat singing appear like spontaneous games between children. The song feels like a street parade, a playground game, and a midnight adventure for a group of lost children—all at once. -- Mambo for Lost Children Verse 1 I lost my way. I see the moon. I see a cat. He says, “Come soon.” Petit chat, où vas-tu? I don’t know. Do you? Chorus Mambo, mambo, Where do we go? Mambo, mambo, I don’t know! Mambo, mambo, Left, right, go! Mambo, mambo, On y va! Verse 2 My little shoes walk by themselves. One goes here. One goes there. La la la, viens avec moi. Round and round, tra-la-la! Chorus Mambo, mambo, Where do we go? Mambo, mambo, I don’t know! Mambo, mambo, Left, right, go! Mambo, mambo, On y va! Scat Ba-da, ba-da, doo-ba-doo! Pa-ra-pa, me and you! Shoo-ba, shoo-ba, la-la-la! Mambo, mambo, ha-ha-ha! Bridge Is that home? No, no, no. Is that home? Maybe so. Une étoile. Deux étoiles. Trois, quatre, cinq— Chorus Mambo, mambo, Where do we go? Mambo, mambo, I don’t know! Mambo, mambo, Left, right, go! Mambo, mambo, On y va! Outro / Free Jazz Mambo… mambo… Petit chat, attends-moi! Ba-da-doo… pa-ra-pa… Where do we go? …I don’t know. 一南 | Yinan

“Drift”是一种没有目的的漂流——跟着水、泥、声音和想象力走。 “Drift”is a carefree wandering, carried by puddles, mud, sounds, streets, and imagination. Track 02. Drift Through Babylon 《Drift Through Babylon》 是一首从孩子视角出发的城市幻想曲。贫困街区不再只是破旧、污水和泥土，而变成孩子眼里的巨大游乐场：污水坑是河流，泥巴是地图，电线杆是守卫，废弃轮胎是赛车，纸箱是城堡。孩子没有意识到这里的“贫困”，他只是在漫游、发现、想象、玩耍。 歌曲用极其简单、重复、朗朗上口的英语，营造一种天真又带着城市律动的感觉。间或加入法语 scat singing 和法国爵士乐句，让歌曲像孩子在街上边走边哼唱、边玩边即兴创造自己的语言。 这里的 “drift” 不是单纯的行走，而是一种没有目的的漂流——跟着水、泥、声音和想象力走。Babylon 既是真实的贫困社区，也变成了一个六岁孩子心中无边无际的奇幻王国。 “Drift Through Babylon” is a playful urban fantasy seen through the eyes of a six-year-old child. A poor neighborhood becomes a giant playground: a puddle becomes a river, mud becomes a map, a street pole becomes a guard, an old tire becomes a race car, and a cardboard box becomes a castle. The child doesn't see poverty the way adults do. He simply sees things to discover, things to touch, things to turn into games. He wanders through the streets with endless curiosity and imagination. Built around very simple, repetitive English and the infectious refrain “Drift, drift, Babylon,” the song has the feel of a children's chant mixed with French jazz. Short French scat passages and playful vocal phrases drift in and out like a child humming to himself while walking through the neighborhood. Here, “drift” means more than walking. It is a carefree wandering, carried by puddles, mud, sounds, streets, and imagination. Babylon is both a real poor neighborhood and a magical kingdom as seen through the eyes of a six-year-old. -- Track 02. Drift Through Babylon [Verse 1] Look! Look! Water! Big, big water! Jump! One, two— SPLASH! My shoes are boats. My shoes can float. [Chorus] Drift, drift, Babylon Come on, come on, come on! Drift, drift, Babylon This is where we play! Drift, drift, Babylon Come on, come on, come on! Drift, drift, Babylon All day, all day, all day! [Verse 2] Look! Mud! Black mud. Good mud. Make a road. Make a house. Chop, chop, chop— Little knife. Now a train! Now a mouse! [Chorus] Drift, drift, Babylon Come on, come on, come on! Drift, drift, Babylon This is where we play! Drift, drift, Babylon Come on, come on, come on! Drift, drift, Babylon All day, all day, all day! [Verse 3] Look up! A tall pole. Who is that? A soldier! “Hello, soldier!” He says nothing. He is good at being quiet. [Little Game / Jazz Break] Red car! Blue car! Run, run, run! Tin can! Bang, bang! Sun, sun, sun! Hey! Look! The moon is stuck on the roof! Push it down! No, no, no— It's a balloon! [Chorus — children join] Drift, drift, Babylon Come on, come on, come on! Drift, drift, Babylon This is where we play! Drift, drift, Babylon Come on, come on, come on! Drift, drift, Babylon All day, all day, all day! [Verse 4] A little hole. What's inside? A frog! Hi, frog. Where's your house? Right here? Oh. That's my house too. [Bridge — very soft] My street is a river. My pole is a king. My shoes are two horses. I can do anything. Anything. Anything. [Final Chorus — more and more playful] Drift, drift, Babylon Come on, come on, come on! Drift, drift, Babylon Where are we going? I don't know! Drift, drift, Babylon Come on, come on, come on! Drift, drift, Babylon Where are we going? Anywhere! Drift, drift, Babylon... Drift, drift... Come on. Come on. Come on. 一南 | Yinan