Daily Drops · Vol.066每日唱片 · Vol.066
What happens when the Buchla finally gets an orchestra to argue with 八十歲的合成器先驅，把五十人樂團接上電
Suzanne Ciani, Metropole Orkest & Simon Dobson — CIANI/ORKEST
- Genre類型
- Electronic / Orchestral / Buchla Synthesis
- Label廠牌
- AKP Recordings
- Format介質
- 2×LP Quadraphonic Vinyl (ltd 1024, first 265 lenticular cover) / Streaming (Dolby Atmos)
- Released發行
- 2026-06-04/05（iTunes: 2026-06-04）
The premise could have gone wrong in a dozen familiar ways—the orchestra reduced to a string pad, the synthesizer to a novelty soloist. Instead, Ciani wrote an hour and a quarter of new music, nine continuous sections that leave the seashore and circle back to it, and let the two instruments negotiate in real time. The Buchla improvises; the orchestra, under Simon Dobson, breathes around it. What the recording captures is less a fusion than a conversation between two different ideas of time—voltage and bow speed—neither of which agrees to be accompaniment. Ciani is approaching eighty and still finding new rooms to put her machine in. The vinyl edition is quadraphonic, limited to 1,024 copies; the first 265 come with a lenticular cover that moves when you do. 2022 年 10 月，阿姆斯特丹 Melkweg，Amsterdam Dance Event 開幕夜。Suzanne Ciani 坐在 Buchla 模組合成器後面，對面是五十人的 Metropole Orkest，Simon Dobson 執棒。這份錄音壓了四年才正式出版，而它值得這個鄭重程度：九段全新創作（不是回顧、不是金曲管絃化），75 分鐘首尾相接，從 Seashore 出發繞一圈再回到 Seashore。
Alina Ibragimova & Cédric Tiberghien — Beethoven: Violin Sonatas Op. 12 & Op. 24
- Genre類型
- Classical / Violin Sonata / Period Instruments
- Label廠牌
- BIS
- Format介質
- SACD / Streaming
- Released發行
- 2026-06-05（Presto Round-Up + iTunes 雙源確認）
錄一遍貝多芬小提琴奏鳴曲全集是里程碑，錄第二遍是跟年輕的自己吵架。這對搭檔十幾年前在 Wigmore Hall 用現代樂器錄過廣受好評的一輪，這次全部推翻重來：Ibragimova 換羊腸弦，Tiberghien 彈 1794 年維也納 fortepiano 複製品。開篇是 Op. 12 三首加《春天》。
London Symphony Orchestra / Sir Antonio Pappano — Copland: Symphony No. 3 – Walker: Sinfonia No. 5 "Visions"
- Genre類型
- Classical / American Orchestral
- Label廠牌
- LSO Live
- Format介質
- SACD / Hi-Res / Streaming
- Released發行
- 2026-06-05
The programming here is the point. Copland's Third, finished as the Second World War ended, builds toward the Fanfare for the Common Man and a finale of national optimism so expansive it borders on civic architecture. George Walker's Sinfonia No. 5, his last completed work, is its photographic negative: brief, furious, written in tribute to the nine people murdered at Emanuel A.M.E. Church in Charleston in 2015. Pappano and the LSO, recorded live at the Barbican, refuse to soften either one—the Guardian heard "irrepressible energy" in the Copland, and the Walker lands like a verdict. Two American symphonies, eighty years apart, describing the same country. The juxtaposition does what an essay couldn't. 這張唱片的觀點全在選曲裡。Copland 第三交響曲寫於二戰剛結束，結尾把《平民號角》蓋成集體樂觀主義的紀念碑；George Walker 的 Sinfonia No. 5 是他的絕筆，寫給 2015 年 Charleston 教堂槍擊案的九位死難者——短促、憤怒、拒絕和解。Pappano 把兩件作品放進同一場 Barbican 音樂會，等於讓希望和憤怒同臺對質：同一個美國，相隔八十年的兩份證詞。Guardian 評 Copland 現場「難以遏制的能量」。曲目搭配本身，比任何樂評都說得清楚。
Latvian Radio Choir / Sigvards Kļava — Vasks: Songs of My Heart
- Genre類型
- Classical / Choral / Contemporary（非英語：拉脫維亞語）
- Label廠牌
- Ondine
- Format介質
- CD / Streaming
- Released發行
- 2026-06-05
Pēteris Vasks turns eighty this year, and his country's radio choir has assembled the most personal kind of tribute: a program that includes the world-premiere recording of "Lūgšana," the very first choral piece he wrote, in 1961, as a teenager in Soviet Latvia, alongside recent works composed specifically for these singers. Vasks has never been a composer of irony. His choral writing runs on long tones, human warmth, and a grief that declines to disguise itself, and the Latvian Radio Choir—arguably the finest practitioners of this repertoire anywhere—sing it with the precision of people who grew up inside it. An entire Baltic life, from a boy's prayer to an old man's "Fatherland," on one disc. Pēteris Vasks 八十歲了，拉脫維亞電臺合唱團給他錄了一張生日唱片。最動人的不是新作，是世界首錄的《Lūgšana》——1961 年，十五歲的 Vasks 寫下的第一首合唱曲。從少年的禱告，到為這個團量身寫的《First Grass》《Fatherland》，一張碟走完一個波羅的海作曲家的一生。
Roderick Williams & Carducci String Quartet — Schubert: Die schöne Müllerin
- Genre類型
- Classical / Lied / Chamber Arrangement
- Label廠牌
- Signum Classics
- Format介質
- CD / Streaming
- Released發行
- 2026-06-05
After singing Die schöne Müllerin professionally for a decade, Roderick Williams did something singers rarely do: he rewrote the accompaniment himself, recasting Schubert's piano part for string quartet and recording the result with the Carduccis. He calls it an act of homage. It reads equally as a claim of ownership—the brook that runs through the cycle now flows through four sets of strings, and the miller-boy's monologue acquires a chamber-music echo it never had. Arrangements of Lieder usually subtract; this one is interesting precisely because the arranger is the man singing, and every scoring decision carries ten years of stage instinct behind it. His 2019 recording of the original earned Gramophone's admiration. This is the same interpreter, thinking out loud in a new medium. 唱了十年《美麗的磨坊女》之後，英國男中音 Roderick Williams 乾脆自己動刀，把舒伯特的鋼琴部分改寫成弦樂四重奏，和 Carducci 四重奏錄了這版。他自己說是「致敬」，我看更像歌手對作品的主權宣告——貫穿整部聲樂套曲的那條溪水，從鋼琴流進了四把弦樂器，磨坊青年的獨白突然有了室內樂的回聲。
Tara Clerkin Trio — Somewhere Good
- Genre類型
- Experimental / Trip-Hop / Avant-Pop
- Label廠牌
- World of Echo (WOE027)
- Format介質
- Special Edition LP + bonus 7" / LP / CD / Streaming
- Released發行
- 2026-06-05
Bristol's music has always had fog in its DNA, and the Tara Clerkin Trio are its current weather system. Their first full album since 2023's On The Turning Ground assembles droning harmonium, upright bass, winds that sit deliberately askew, and Clerkin's voice arriving as if from the next room. The trio's trick—and it is harder than it sounds—is to be experimental without ever generating tension. Trip-hop provides the skeleton; modern classical and a kind of kraut-folk provide the foliage; nothing announces itself. Eight tracks that resist the skip button not by demanding attention but by dissolving the impulse to reach for it. The special edition LP includes a two-track bonus seven-inch, for those who like their fog in physical form. Bristol 的音樂 DNA 裡有霧，Tara Clerkin Trio 是這種霧的當代形態。harmonium 長音、立式貝斯、被故意放歪的管樂，Tara 的人聲像從隔壁房間飄進來。這是 2023 年 mini-album 之後的第一張完整專輯，八首，trip-hop 的骨架上長出現代古典和 kraut-folk 的枝葉。
Slippers — Slippers 08
- Genre類型
- Indie Pop / Jangle Pop
- Label廠牌
- Perennial
- Format介質
- CD / Streaming
- Released發行
- 2026-06-05
Madeline Babuka Black trained as an animator at CalArts and has spent years drumming in other people's bands; Slippers is what happens when that résumé writes songs. Her second album, and first for Perennial, runs eleven tracks of bubblegum melody and sidewalk-chalk guitar, drawing a clean line from early Beatles and Beach Boys records to jangle-pop torchbearers like the Pastels. Stereogum made it an Album of the Week and called it simply brilliant, which is accurate but undersells the craft: these songs have an animator's economy, every line load-bearing, nothing on screen by accident. Sunday-afternoon music in the best sense—it asks little, and three hours later you discover the melodies have moved in permanently. LA 音樂人 Madeline Babuka Black 的化名計畫，第二張專輯，Stereogum 本週專輯。她在 CalArts 學動畫，多年給別人打鼓（Le Pain、Yucky Duster），這種履歷寫出來的 jangle-pop 有種手繪感：十一首泡泡糖旋律，譜系從早期 Beatles、Beach Boys 一路接到 the Pastels，每條線都承重，畫面裡沒有多餘的東西。不裝深刻，也不真的淺。週日下午放著掃地剛好，掃完發現旋律全留在腦子裡了。
Ojo Taylor — B̶E̶H̶O̶L̶D̶
- Genre類型
- Darkwave / Gothic / Neoclassical
- Label廠牌
- Self-Released
- Format介質
- CD / Vinyl / Streaming
- Released發行
- 2026-06-05（流媒體全面上線；Bandcamp/Kickstarter 實體早鳥 2026-02）
In the nineteen-eighties, Ojo Taylor led Undercover, the band that smuggled doubt, fear, and actual darkness into Christian punk—a scene not famous for welcoming any of the three. He has since left the faith, and BEHOLD, his first album in more than twenty years, arrives with its own title struck through: a declaration that cancels itself. The music sits in the neighborhood of Dead Can Dance and Arcana—winding guitars, shadowed keys, melodies that rise like incense in some ancient temple, as Bandcamp Daily's editor put it. What hasn't changed in forty years is the urge to ask existential questions; what has changed is that Taylor no longer expects the questions to be answered. The result is the most liturgical-sounding record of the week, made by a man who left the liturgy. 八十年代，Ojo Taylor 是 Undercover 的主腦——基督龐克圈裡第一個敢把懷疑、恐懼和真正的黑暗寫進歌詞的人。後來他離開了信仰。二十多年沒出專輯，現在交出《BEHOLD》，標題自帶刪除線：宣告的同時自我否定。
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