Daily Drops · Vol.067每日唱片 · Vol.067

Borges's fake encyclopedia, eight fuzz pedals, and Jeff Goldblum after hours 13歲組團的女孩，26歲那年自己推開錄音室的門

Monday, June 08, 2026 2026年6月08日星期一

01 Pick of the Day 今日精選

SLIFT — Fantasia

Genre類型: Heavy Psych / Space Rock / Krautrock
Label廠牌: Sub Pop
Format介質: Vinyl / CD / Streaming
Released發行: 2026-06-05（iTunes Lookup 確認）

The Toulouse trio's last album, Ilion, sprawled past the hour mark and seemed to regard restraint as a rumor. Fantasia, their fourth, runs eight songs in under fifty minutes, and the irony of the title is intentional: it is their least fantastical record, a pointed fable about a town consumed by unknowing and xenophobia. Jean Fossat was reading Borges while writing it — one track borrows its name, "Orbis Tertius," from the story in which a fake encyclopedia quietly replaces reality — and the band plays as if the encyclopedia were gaining on them. The riffs still scale like cathedral walls, but someone has finally drawn a floor plan. It is the rare space-rock album that gets more frightening as it gets more disciplined, which is to say: the best thing they've done. 土魯斯三人組的第四張專輯。上一張《Ilion》是 79 分鐘的太空史詩，這一張 8 首歌不到 50 分鐘——SLIFT 終於學會了刪，而刪過的他們更危險。主創 Jean Fossat 寫歌期間在反覆讀波赫士，有一首直接借了〈特隆、烏克巴爾、奧比斯·特蒂烏斯〉的篇名："Orbis Tertius"，那篇小說講一部假百科全書一頁頁吃掉現實。整張專輯虛構了一座被「不可知」與排外情緒困住的城鎮，riff 是城牆，鼓是攻城錘。媒體均分 83，是上週五被嚴重低估的一張。我的建議：音量開大，一口氣聽完。

Rosa Walton — Tell Me It's A Dream

Genre類型: Synth-Pop / Art Pop / Indie
Label廠牌: Transgressive
Format介質: Vinyl / Streaming
Released發行: 2026-06-05（Bandcamp 頁面確認）

Rosa Walton has been half of Let's Eat Grandma since she was thirteen, which means she has spent half her life inside one of British pop's strangest telepathies. Her first solo record, made at twenty-six, is pointedly not a declaration of independence — she calls it the opposite — and perhaps that's why it works. Begun as lockdown homework with no audience in mind, finished in a residential studio in Wales with David Wrench co-producing and Jenny Hollingworth dropping in to sing, it floats in a higher, airier register than the duo's work, all sky and light and weather. If her name is unfamiliar, her royalties are not: she wrote "I Really Want To Stay At Your House," the Cyberpunk: Edgerunners song with 360 million streams. This is what she sounds like when nobody commissions anything. Let's Eat Grandma 的一半。她 13 歲和青梅竹馬 Jenny Hollingworth 組團，17 歲發首張專輯，26 歲才交出第一張個人作品——而且她特意強調，這不是什麼單飛宣言：疫情期間寫給自己的歌，沒打算發表，慢慢長成了一張唱片。David Wrench（Frank Ocean、FKA twigs 的製作人）聯合製作，威爾斯駐地錄音室裡和朋友們現場錄完，Jenny 照樣來客串一首。你可能沒聽過她的名字，但大概率聽過她寫的歌：《電馭叛客：邊緣行者》裡那首 "I Really Want To Stay At Your House"，光 Spotify 就是 3.6 億次播放。這張專輯更亮、更高、更接近天空。

of Montreal — aethermead

Genre類型: Indie Rock / Psych-Pop
Label廠牌: Polyvinyl
Format介質: Vinyl / Streaming
Released發行: 2026-06-05（Bandcamp / Wikipedia 確認）

Kevin Barnes has been narrating his own breakdowns for thirty years now, and the durable surprise is that the method still yields. Album number twenty arrives after the dissolution of an eight-year engagement and a failed experiment in rural Vermont; Barnes fled to Brooklyn, found a windowless basement studio where the subway rumbles through the walls, and cut the record with his live band in five days. The title splices the Nethermead — the Prospect Park meadow where he walks his dog — with the ether of his new meditation habit, and the songs have the jangly, wounded immediacy critics keep tracing back to Hissing Fauna, his other great divorce record. "Confessional to an embarrassing degree," he says, accurately. Three decades in, the diary remains open and the handwriting is still legible. 第 20 張錄音室專輯，計畫走到第 30 年。Kevin Barnes 解除了八年的婚約，逃離佛蒙特鄉下，搬進布魯克林，然後在一間聽得見地鐵駛過的無窗地下錄音室裡，五天錄完了這張專輯的主體。標題是他遛狗的 Prospect Park 草坪（Nethermead）和冥想習慣拼出來的詞。樂評人都在提《Hissing Fauna, Are You the Destroyer?》——那張公認的生涯最佳，也是婚變產物。Barnes 自己說這張寫得「私密到尷尬的程度」。三十年了，他還在用專輯做公開的心理治療，療程對聽眾免費。

Jeff Goldblum & The Mildred Snitzer Orchestra — Night Blooms

Genre類型: Vocal Jazz / Standards
Label廠牌: Decca
Format介質: CD / Streaming
Released發行: 2026-06-05（iTunes Lookup 確認）

The skepticism that greets actor-led jazz projects is healthy and, in this case, mostly beside the point: Goldblum has played piano in this band longer than some of his co-stars have been alive, and Night Blooms, his sixth Decca release, is less a vanity project than a very well-connected house party. A nocturnal companion to last year's Still Blooming, it dims the lights and passes the microphone around: Cynthia Erivo turns "If I Only Had a Brain" into something genuinely wistful, Melody Gardot takes custody of "Misty," Ariana Grande, Charlie Puth, and dodie drift through. The arrangements are standards done straight; the pleasure is in the guest list and the hour. File under records that know exactly what time it is — roughly 1 a.m. 是的，《侏羅紀公園》裡那個數學家。先收起懷疑——Goldblum 彈爵士鋼琴的年頭比很多讀者的年齡都長，這已經是他在老牌廠牌 Decca 的第六張唱片。《Night Blooms》是去年《Still Blooming》的深夜續篇，整張是熄了一半燈的 after-hours 場子：Cynthia Erivo 把《綠野仙蹤》的 "If I Only Had a Brain" 唱出了真正的悵惘，Melody Gardot 接走 "Misty"，Ariana Grande、Charlie Puth、dodie 輪流坐到鋼琴邊。曲目全是標準曲，沒有冒險，驚喜全在人。週一晚上的收工酒，配它正好。

The Gesualdo Six & Owain Park — Wishing Tree

Genre類型: Classical / Choral
Label廠牌: Hyperion
Format介質: CD / Streaming
Released發行: 2026-06-05（Presto Round-Up + iTunes 雙確認）

For their eleventh Hyperion album, the British vocal ensemble steps out of the chapel and into the woods. The title work is Joby Talbot's setting of the Scottish poet Kathleen Jamie, premiered at the Proms in 2002, about a tree that absorbs human wishes at a crossroads; around it, Owain Park has arranged five centuries of secular tenderness — Josquin, Byrd, Gibbons, Stanford, Poulenc's Petites voix, his own fantasia on English children's songs, and folk melodies like "The Oak and the Ash" and "My Love is Like a Red, Red Rose." Six voices, no instruments, nothing to hide behind. The program's quiet argument is that the sacred-secular border was always a checkpoint without guards, and these singers cross it carrying only breath. 英國六人男聲團在 Hyperion 的第 11 張專輯，這次離開教堂，走進樹林。標題曲是作曲家 Joby Talbot 為蘇格蘭詩人 Kathleen Jamie 譜寫的《許願樹》（2002 年 BBC Proms 首演），寫一棵在十字路口替人收存願望的樹。圍繞它，指揮 Owain Park 排開了五百年的世俗溫柔：Josquin、Byrd、Gibbons、Stanford，Poulenc 的《Petites voix》，他自己寫的英國童謠幻想曲，還有《The Oak and the Ash》和《My Love is Like a Red, Red Rose》的民謠改編。六個聲部，零伴奏，無處藏拙。留給週一早晨的那張。

Kerson Leong & Jonathan Fournel — Fauré: Sonatas for Violin and Piano

Genre類型: Classical / Violin & Piano
Label廠牌: Alpha Classics
Format介質: CD / Streaming
Released發行: 2026-06-05（Presto；數位 5/29 上線）

Fauré's two violin sonatas are separated by forty years — the first all morning light from 1876, the second written in 1916 by a man going deaf in a country at war — and hearing them on one disc is a quiet lesson in what a life does to a style. Leong, the Canadian violinist who won the Menuhin competition as a child, and Fournel, the French pianist, fill the space between with transcriptions: "Clair de lune," "Après un rêve," the spinning-wheel "Fileuse." The footnote worth the price of admission: the Second Sonata was dedicated to Queen Elisabeth of Belgium, an avid amateur violinist, and Fournel won the competition that bears her name in 2021. A dedication and a prize, shaking hands across a century. 佛瑞的兩首小提琴奏鳴曲隔了整整四十年：1876 年那首滿是晨光，1916 年那首寫於耳聾與戰爭之中。加拿大小提琴家 Kerson Leong（2010 年曼紐因大賽冠軍）和法國鋼琴家 Jonathan Fournel 把它們放進同一張唱片，中間填上〈月光〉〈夢後〉〈紡車〉等歌曲改編。最值回票價的是一條註腳：第二號奏鳴曲題獻給比利時伊麗莎白王后——一位狂熱的業餘小提琴手；而 Fournel 正是 2021 年伊麗莎白王后國際大賽的冠軍。題獻者與獲獎者，隔著一百年在同一張唱片裡握了手。

Deafkids — Cicatrizes do Futuro（補報：本週 Quietus AOTW）

Genre類型: Experimental / Latin Punk / Ritual Percussion
Label廠牌: Neurot Recordings
Format介質: Vinyl / CD / Streaming
Released發行: 2026-05-29（iTunes + Neurot 確認；6/8 當週獲 Quietus Album of the Week，按"新評論出現"例外補報）

Released in late May and crowned Album of the Week by The Quietus this week, which is reason enough to circle back. The Brazilian duo's first non-collaborative album since 2019 runs nine tracks in forty minutes and draws its rhythmic engine from Bumba Meu Boi, the carnival ritual of Brazil's northeast, then overdrives it with electronics and a punk velocity that never quite resolves into any genre you could name. The Quietus's reading is the right one: where their psych-rock peers look for the future in distant galaxies, Deafkids find it in rhythms older than the colonial border. The title translates as "scars of the future" — a phrase that works as both prophecy and diagnosis, and the record honors it. 5 月 29 日發行，本週剛拿下 The Quietus 的 Album of the Week——這個欄目是英國樂評界少數還值得追蹤的金字招牌，補報不虧。巴西二人組，2019 年《Metaprogramação》之後第一張非合作正式專輯：9 首歌 40 分鐘，把巴西東北部嘉年華的 Bumba Meu Boi 儀式打擊樂接上電子噪音，再點燃拉美龐克的引信。Quietus 的判詞抓得很準：同行們往外太空找未來，Deafkids 往比殖民邊界更古老的節奏裡挖。專輯名譯作「未來的傷疤」——既是預言，也是診斷。

London Haydn Quartet — Haydn: The Complete String Quartets

Genre類型: Classical / String Quartet / Box Set
Label廠牌: Hyperion
Format介質: 20-CD Box
Released發行: 2026-06-05（Presto Round-Up 確認）

Some records are releases; this one is a verdict. The London Haydn Quartet spent sixteen years — 2007 to 2023 — recording every Haydn string quartet on gut strings and period instruments, and Hyperion has boxed the results for the ensemble's twenty-fifth birthday: twenty CDs, no streaming, no shortcuts. Gramophone spent those years praising the cycle's "disciplined spontaneity," which is exactly the paradox Haydn demands — music that must sound improvised and inevitable at once. In an era when complete cycles are assembled from festival leftovers, there is something almost defiant about a project this patient. You cannot put it on a playlist. You have to live with it, which was, presumably, the point all along. 一個樂團用 16 年（2007-2023）在羊腸弦古樂器上錄完海頓全部弦樂四重奏，然後在自己 25 歲生日這天，把成果裝進一隻 20 張 CD 的盒子。Gramophone 這些年的評語累積起來已經說明問題：「幻想力、有紀律的自發性、累積的洞見」。注意：沒有串流，沒有數位版，實體獨佔。在全集靠音樂節邊角料拼湊的年代，這種十六年磨一劍的耐心本身就值得敬禮。