Daily Drops · Vol.084每日唱片 · Vol.084

A teenager's fright at a 1960 horror film, returned decades later as a score 替天后寫歌之前，他在飯店大廳一週彈六晚

Thursday, June 25, 2026 2026年6月25日星期四

01 Pick of the Day 今日精選

Cécile McLorin Salvant, Metropole Orkest & Jules Buckley — With Every Breath I Take

Genre類型: Vocal Jazz / Orchestral
Label廠牌: Nonesuch
Format介質: Vinyl / CD / Streaming

For more than a decade, Salvant's signature has been her restraint: a piano trio, a single voice, an old song turned over until it confesses something new. This record inverts that. The Netherlands' Metropole Orkest, conducted by Jules Buckley, follows her now through a program of Ellington, Strayhorn, Sondheim, and Coward—plus a few of her own—newly arranged by Darcy James Argue. The risk is obvious: an orchestra is the surest way to inflate a jazz singer into a musical-theater spectacle. But Salvant has always grown cooler as the setting grows lusher; she lets the players build the room and steps in only on the exact syllable that matters. Recorded over two December days in Hilversum. My pick of the week. 三屆葛萊美得主，可她過去十幾年的招牌恰恰是不靠排場：一個鋼琴三重奏、一張嘴，把一首老歌翻來覆去地拆。這張第一次反過來——荷蘭 Metropole Orkest、Jules Buckley 指揮，整支樂團跟著她走。曲目是 Ellington、Strayhorn、Sondheim、Coward 這些名字，外加她自己的幾首，全由 Darcy James Argue 重新編配。危險也在這裡：管絃樂最容易把爵士女聲推成音樂劇。但 Salvant 的本事一向是越華麗越冷靜——她不搶，讓樂團替她鋪好，自己只在最準的那個字上落腳。去年 12 月錄於荷蘭 Hilversum 兩天。這是本期我的首選。

Dylan Mattingly — The Wild Heart (Complete) [Contemporaneous, David Bloom]

Genre類型: Contemporary Classical
Label廠牌: Nonesuch
Format介質: Vinyl / CD / Streaming

These two pieces were carved out of a six-hour epic called History of Life, which tells you most of what you need to know about Mattingly's appetite for scale. His is the kind of contemporary classical that refuses to ration itself: long lines, dense weather, tonality stretched to the edge of breaking. Sunt Lacrimae Rerum—"these are the tears of things," from Virgil—was written in the first pandemic year, as wildfires moved through his native California, and it wears the Latin lightly, more a man finishing the notes while the world half-collapses than any kind of erudition. Contemporaneous, his long-standing ensemble under David Bloom, plays it with the tenor Iarla Ó Lionáird surfacing from the texture like light through a seam. His Nonesuch debut. It does not flatter you; it pins you down by sheer mass. 這張是從一部六小時的鉅作《History of Life》裡切下來的兩塊。Mattingly 寫的是那種不肯節制的當代古典——長線條、密織體、調性被推到將斷未斷。《Sunt Lacrimae Rerum》（拉丁文「這些是萬物之淚」）寫於疫情第一年、加州山火正燒的時候，標題取自維吉爾，卻沒有一點掉書袋的意思，更像一個人在世界塌一半時仍堅持把音寫完。Contemporaneous 樂團是他的長期班底，David Bloom 指揮，愛爾蘭歌者 Iarla Ó Lionáird 的人聲從樂團裡浮出來，像從石頭縫裡漏出的光。Nonesuch 廠牌處女作。它不討好，但你會被它的體量摁住。

Nduduzo Makhathini — The Myth We Choose

Genre類型: Spiritual Jazz
Label廠牌: Blue Note
Format介質: Vinyl / CD / Streaming

The South African pianist speaks openly about healing and philosophy, the sort of vocabulary that curdles in most musicians' mouths but stays grounded in his. His fourth Blue Note album turns on the idea that societies select their own myths through song. Sixteen tracks, co-produced by his son Thingo, with guests including Shabaka and Black Coffee—though the crowd is not the point. Makhathini's playing carries a sense of ancestral presence, each chord landing as though greeting someone unseen in the room. "Spiritual jazz" has become a lazy label, shorthand for slow tempos and reverb; he is among the few who actually put the spirit back. A record best met without the distraction of trying to keep up with it. 南非鋼琴家，也是個公開談療癒與哲思的人——這套詞在別人嘴裡容易發虛，在他這兒卻落得很實。第四張 Blue Note，主題是不同社會如何「用歌來挑選自己的神話」。十六軌，由他兒子 Thingo 共同製作，請來 Shabaka、Black Coffee 一票人，但熱鬧不是重點。Makhathini 的鋼琴始終帶著一種祖靈在場的重量，每個和絃都像在跟看不見的人打招呼。spiritual jazz 這個標籤如今被用濫了，多半隻是慢加混響；他是少數真把「靈」放回去的人。

Tasha — You Are Spring!

Genre類型: Indie Folk / Singer-Songwriter
Label廠牌: Bayonet
Format介質: Yellow Vinyl / Streaming

Stereogum's album of the week, and an easy one to fall into. It opens with "Spring," an a cappella hymn shared with Jamila Woods and L'Rain, that ushers you into a world thick with summer sensation: air sticky on the skin, a kiss outside the subway, a phone call from a mother. Tasha made her last album in the wake of the Broadway run of Illinoise; this one retreats to acoustic guitar and a weightless croon, looser and brighter for it. Its strength isn't in any single dazzling line but in its nerve to treat calm as a position worth holding—the world hasn't ended yet, so finish the summer first. For a slow Chicago afternoon, or any hour you want to decelerate. Stereogum 當週專輯。開場〈Spring〉是和 Jamila Woods、L'Rain 三個人的無伴奏合唱，像一首小讚美詩，把你領進一個全是夏天感官的世界——黏在皮膚上的空氣、地鐵口的吻、母親打來的電話。Tasha 上一張寫在她參演百老匯《Illinoise》之後，這張退回吉他和氣聲，更鬆、更亮。它的好不在於句句驚人，而在於敢把「平靜」當成一種主張：世界還沒塌，先把這個夏天過完。配芝加哥的午後，或任何你想慢下來的時刻。

Félicia Atkinson — Sans Visage

Genre類型: Experimental / Musique concrète
Label廠牌: Shelter Press
Format介質: LP / Streaming

Atkinson has rescored Georges Franju's 1960 horror film Les Yeux Sans Visage—the one about a surgeon harvesting faces for his disfigured daughter. She first saw it as a teenager, and decades on she has translated that unease into sound: whispers, a thin haze of synthesizer, the small frictions of objects, all of it compressed into a thirty-four-minute distillation of the original ninety-minute score. She has never been a writer of melodies; what she writes is an approach—you think you've nearly made it out, and it withdraws back into shadow. The LP arrives with an essay by Claire Cronin and drawings by Momo Gordon. Headphones, late, lights off. 她為 Franju 1960 年的恐怖片《沒有臉的眼睛》（Les yeux sans visage）重寫了配樂——講一個外科醫生為毀容的女兒四處「取臉」的故事。Atkinson 少年時看過這片，幾十年後把那股不適感譯成聲音：耳語、合成器的薄霧、物件摩擦的細響，34 分鐘，是把原作 90 分鐘配樂壓縮重組的結果。她從來不是寫旋律的人，她寫的是一種逼近——你以為快聽清了，它又退回陰影裡。LP 還附了作家 Claire Cronin 的隨筆和 Momo Gordon 的畫。深夜、戴耳機、關燈。

Minyo Crusaders (民謡クルセイダーズ) — From Japan With Love

Genre類型: Min'yō / Global / Cumbia
Label廠牌: Blue Note
Format介質: Vinyl / CD / Streaming

Splicing Japanese min'yō onto the world's dance rhythms is something this collective has done for nearly a decade, but here, for the first time, they invite guests in. The lead single, "Hanagasa Ondo," grafts a Yamagata folk standard directly onto the Colombian cumbia "Cumbia en Do Menor," and the two unrelated grooves lock together without a seam. Chitose Hajime lends her voice; the Colombian outfit Frente Cumbiero, longtime collaborators, supply the swing. The peril of this kind of global collage is always the souvenir-shop trinket, but the Crusaders earn their fusion because the playing genuinely moves—they aren't placing folk song behind museum glass, they're dragging it back onto the dance floor. Eight tracks, brief, every one of them standing. 把日本民謠接上全球節奏，這件事他們做了快十年，但這是第一次請客座。首單〈花笠音頭〉直接嫁接哥倫比亞昆比亞標準曲〈Cumbia en Do Menor〉，兩套八竿子打不著的民間律動竟然咬合得嚴絲合縫。請來元千歲（Chitose Hajime），和長期搭檔、哥倫比亞的 Frente Cumbiero。這類「世界音樂拼貼」最怕淪為旅遊紀念品，但 Minyo Crusaders 的底子是真在跳——他們不是把民謠擺進玻璃櫃，是把它拽回舞池。八軌，短，但每首都站得住。

Stephan Moccio — Scenes from a Velvet Room

Genre類型: Neoclassical / Solo Piano
Label廠牌: Decca
Format介質: Vinyl / CD / Streaming

Before the hits, Moccio played piano six nights a week in the lobby of the Four Seasons in Toronto; afterward he wrote songs for Céline Dion, Miley Cyrus, and the Weeknd. This fourth Decca solo album returns to those lobby years—jazz-tinged piano miniatures, low amber light, the clink of glasses. Branford Marsalis guests on three tracks, nudging the mood up a notch from background to foreground. It must be said that this strain of neoclassical lives dangerously close to the luxury-hotel playlist, and Moccio doesn't entirely dodge it; but when he stops reaching for "beautiful" and simply plays the memory straight, the thing lands. For a night with the volume turned halfway down. 成名前，他在多倫多四季飯店大廳一週彈六晚琴；後來他給 Céline Dion、Miley Cyrus、The Weeknd 寫歌。這張第四張 Decca 個人專輯，回的就是那段大廳歲月——爵士底色的鋼琴小品，燈光昏黃，杯子碰響。三首請了 Branford Marsalis 的薩克斯，把氛圍從「背景音樂」往上拽了一檔。坦白說這類新古典容易滑進高級飯店歌單的危險地帶，Moccio 也沒完全躲開；但當他不去夠「美」、只老實彈那段記憶時，是動人的。給需要把音量調到一半的夜晚。

Temples — BLISS

Genre類型: Neo-Psychedelia / Psych Pop
Label廠牌: V2 Records
Format介質: Vinyl / CD / Streaming

The fifth album from the Kettering psych band, and their first in three years, chases a phrase they keep returning to: "melancholic euphoria." That means packing the gleaming melodies of late-'90s dance into psychedelic guitar—loops, layers, a music that is plainly dancing yet shadowed by something lost. From "Jet Stream Heart" to "Megalith," the synthesizers carry noticeably more weight, and some will find it a long way from the orange-hued psych of their debut. But Temples have always been good at sweetness without the cloy; this time they've folded a little bitterness into the sugar. Ten tracks, built for driving, for dusk. Kettering 這支迷幻樂團的第五張，隔了三年。這次他們追的詞組是「憂鬱的狂喜」——把 90 年代末舞曲那種發亮的旋律塞進迷幻吉他裡，循環、堆疊，明明在跳卻帶著一點失落。從〈Jet Stream Heart〉到〈Megalith〉，合成器的比重明顯加大，有人會嫌它離最早那張橙黃色的迷幻太遠。但 Temples 一直擅長的就是把甜做得不膩；這張只是把甜裡摻了點苦。十軌，適合開車、適合黃昏。