Daily Drops · Vol.102每日唱片 · Vol.102
Nine cities, nine duet partners, and a trumpet that asks for quiet. 一九七六年的橫濱中華街，坂本龍一還只是伴奏樂手
FATHERS — FATHERS
- Released發行
- 2026-07-10（iTunes Lookup releaseDate 2026-07-10 + Blue Note 官方公告 7/10）
The console had never passed a signal. Kenny Beats was ninety-five percent done building Putnam Hill, his new Los Angeles studio, and its custom-built recording desk had yet to make a sound, so he asked the keyboardist Kiefer to come by with a band and help test the wiring. Kiefer happened to be touring with the bassist CARRTOONS and the drummer Nate Smith. The test took forty-eight hours and produced all eight tracks of a Blue Note debut. “Turns out the board works just fine,” Kenny reports, in what may be the year’s driest studio memo. The band name is Kiefer’s doing — “Father” was simply how he greeted everyone in the room, and eventually the greeting stuck to the group. The lead single “PEARL” plays like a lost Brazilian pop-jazz LP with a modern low end; Nicole McCabe, KNOWER’s Genevieve Artadi and Hether’s Paul Castelluzzo drop in. Smith, fresh off two Grammys for LIVE-ACTION, keeps time so exact it flirts with the machines Kenny usually programs, then relaxes, audibly, like a person. Kenny Beats 在洛杉磯的錄音室蓋到百分之九十五，自製混音臺裝好了，還沒通過電、沒出過聲。他找 Kiefer 帶個樂隊來「試音」，Kiefer 當時正好和貝斯手 CARRTOONS、鼓手 Nate Smith 一起巡演。試機的四十八小時裡，四個人錄出了八首曲子，Blue Note 直接拿去發行。Kenny 事後的結論只有一句：板子沒問題。團名的來歷也隨便得很——Kiefer 在棚裡管誰都叫 "Father"，叫著叫著就叫成了團名。音樂倒毫不隨便：先行曲〈PEARL〉像一張失傳的巴西 pop-jazz 老唱片被擦亮，Nate Smith 的鼓精準得像鼓機、又鬆得像人，客串名單裡還有 KNOWER 的 Genevieve Artadi。今年他剛憑《LIVE-ACTION》拿下兩座葛萊美。
hackedepicciotto — LICHTUNG
- Released發行
- 2026-07-10（Bandcamp album 頁 "released 10 July 2026" + iTunes 2026-07-10）
Alexander Hacke has left Einstürzende Neubauten, and the first thing he did with the freedom was settle down. LICHTUNG — German for “clearing” — is named for the home he and Danielle de Picciotto established on the outskirts of Berlin after fourteen years of deliberate nomadism, and the record sounds like two people unpacking: the duo’s habitual drones loosened into stranger, more electronic structures, de Picciotto back at the piano she had missed for years. The lyrics are entirely in German, a courtesy to the language now outside their windows, and the track list reads like a settler’s almanac: “Erntedank,” “Zeitenwende,” “Draussen.” On Mute, with a candy-colored vinyl edition. Domesticity rarely sounds this restless, or this glad about it. Alexander Hacke 離開了 Einstürzende Neubauten，這是離團後的第一張唱片。他和妻子 Danielle de Picciotto 遊牧了十四年，終於在柏林郊外安家，專輯名 Lichtung 就是德語的「林間空地」。歌詞刻意全部用德語寫，算是對新環境的語言行禮；Danielle 重新彈回久違的鋼琴，慣用的重複 drone 讓位給更複雜的結構與電子聲響。八首曲名清一色德語：〈Vogelfrei〉〈Zeitenwende〉〈Erntedank〉。限量糖果色黑膠，Mute 發行。定居第一年的聲音，比想像中明亮。
Nils Petter Molvær — Be Quiet
- Released發行
- 2026-07-10（iTunes 2026-07-10；Bandcamp album 頁）
Every track is titled with an address. Rather than summon his guests to Oslo, Molvær spent the project traveling to them: Bangkok for the zheng player Chang Jing, Copenhagen for the percussionist Marilyn Mazur, a Berlin orbit for Alva Noto’s electronic pulse, Hackney for Imogen Heap. In Finsbury Park the piano belongs to John Paul Jones, of Led Zeppelin, who plays with the tact of a man aware he is in someone else’s living room. Each piece is a one-on-one improvisation recorded in the collaborator’s own space, and the trumpet stays recognizably Molvær’s throughout — breath first, brass second — while the rooms change around it. A Per Manning documentary accompanies the album, which explains the field-trip architecture. The title is an instruction the music mostly obeys. 九首曲子九座城市九位搭檔，曲名乾脆直接寫地址。挪威電氣小號手 Molvær 逐一走進對方的空間即興應答：曼谷那首對著古箏家 Chang Jing，哥本哈根是老搭檔 Marilyn Mazur 的打擊樂，〈Berlin-orbit 4〉對上 Alva Noto 的電子脈衝，最意外的是〈London-Finsbury Park〉——彈鋼琴的是 Led Zeppelin 的 John Paul Jones。隨碟附 Per Manning 執導的紀錄片。概念聽起來像旅行綜藝，成品安靜得名副其實。
Kassel Jaeger — Sub Re
- Released發行
- 2026-07-10（Bandcamp "released 10 July 2026" + iTunes 2026-07-10）
François Bonnet has directed the GRM, Paris’s ancestral studio of musique concrète, since 2018; Kassel Jaeger is where his own composing lives. Sub Re is Latin for “under the matter,” and it also points to a chapter of Victor Hugo’s Toilers of the Sea in which a man labors alone beneath a shipwreck wedged into a reef. Two long tracks, assembled from scattered occasions: one movement premiered at a concert tied to the Swiss Pavilion of the 2022 Venice Biennale, and the closing “signalmirror” first sounded at Sion’s inaugural Sound Biennale in 2023. Ron Jude shot the sleeve. Dense, then tenuous, then dense again; I have been under it twice today and intend to go back down. Kassel Jaeger 是 François J. Bonnet 的化名，巴黎 GRM（具體音樂的祖庭）二〇一八年起的掌門人。Sub Re 是拉丁語「在物質之下」，也是雨果《海上勞工》裡的一章：主角孤身潛到卡在礁石間的沉船底下幹活。兩條長軌，素材各有出處——〈a shell, a bell, a spell〉首演於二〇二二年威尼斯雙年展瑞士館的關聯音樂會，收尾的〈signalmirror〉來自二〇二三年 Sion 聲音雙年展。封套攝影 Ron Jude。海水一樣推進的具體音樂，密度與稀薄輪流上場。
she's green — swallowtail
- Released發行
- 2026-07-10（Bandcamp "released 10 July 2026" + iTunes 2026-07-10）
The Minneapolis five-piece calls what it does “moss music,” which saves a reviewer three sentences of adjectives. The lineage is Slowdive and Cocteau Twins, filtered through Miyazaki and Tolkien; the reverb reads green and damp. swallowtail is their third EP after Wisteria and Chrysalis, a discography that keeps naming itself out of a field guide. Seven tracks, digital only for now. “paper thin” is the one I keep restarting; ask me next week what the rest settles into. 明尼阿波利斯五人組，自稱做的是「苔蘚音樂」。Slowdive 和 Cocteau Twins 的譜系，濾鏡換成宮崎駿和託爾金：潮濕、綠、有精靈出沒的那種混響。第三張 EP，七首；前兩張叫《Wisteria》《Chrysalis》，紫藤與蛹，取名一路照著植物圖鑑來。目前只有數位。
Kian Soltani & Pablo Ferrández — Paganini Variations
- Released發行
- 2026-07-10（Presto 產品頁 "Release date: 10th Jul 2026" + iTunes 2026-07-10）
Deutsche Grammophon has released a seventeen-minute EP, which is its own small news item. The occasion is friendship: Kian Soltani wrote a set of variations on Paganini’s 24th Caprice for two cellos, the second chair belonging to Pablo Ferrández — fellow Kronberg Academy alumnus and, for several years, his Berlin flatmate. Liszt, Brahms and Rachmaninoff all varied this same Caprice; scoring it for two of the same instrument turns the old rivalry format into conversation. Piatti’s Serenade for two cellos, a Shostakovich prelude arranged by Atovmyan, and a virtuosic Barrière excerpt round out the program, with Julien Quentin at the piano. Downloads only, seventeen minutes flat. 帕格尼尼第二十四號隨想曲，李斯特、布拉姆斯、拉赫瑪尼諾夫都拿它寫過變奏；Soltani 的版本寫給兩把大提琴——自己一把，另一把給 Pablo Ferrández：克隆伯格學院的同窗、柏林時代的室友。附帶的曲目也講交情：Piatti 的雙大提琴小夜曲、Atovmyan 改編的蕭斯塔科維奇前奏曲、Barrière 的炫技選段，鋼琴 Julien Quentin。DG 用 EP 形態發行，十七分鐘，只出數位。古典大廠學著出 EP，算是向串流時代交的一份作業。
細野晴臣 & ティン・パン・アレー (Haruomi Hosono & Tin Pan Alley) — HARRY HOSONO & TIN PAN ALLEY IN CHINA TOWN 1976
- Released發行
- 數字 2026-06-17（iTunes JP 2026-06-17，15 曲）；LP/7 吋一般發售 06-24（Kakubarhythm 官方）
On May 8, 1976, Haruomi Hosono booked the banquet floor of Douhatsu Shinkan, a venerable restaurant in Yokohama’s Chinatown, and played a set with Tin Pan Alley that Japanese collectors have traded stories about ever since. The sidemen explain the mythology on their own: Ryuichi Sakamoto on electric piano and synthesizer, Akiko Yano on piano, Shigeru Suzuki and Tatsuo Hayashi running the Tin Pan engine room. The repertoire is an exotica menu — Hoagy Carmichael’s “Hong Kong Blues,” Martin Denny’s “Firecracker” two years before YMO electrified it, Ravel’s Bolero repurposed as band-introduction music. A newly discovered stereo master, asleep for half a century, has been remixed by Goh Hotoda, and the vinyl went on sale first inside the same restaurant where the show happened. The digital edition arrived in mid-June; consider this a late but sincere RSVP. As Chinatown documents go, this one you can dance to.
Leah Senior — Pt. Roadknight
- Released發行
- 2026-06-19（Bandcamp "released 19 June 2026" + iTunes 2026-06-19）
Leah Senior’s fifth album was written in a sandstone shack at the end of a red dirt road in Anglesea, a Victorian surf town that fills with tourists each summer and empties to grey by June. The record keeps both seasons. “Mothersong” opens at full stride, with Pentangle-ish guitar figures, flute fanfares and blood harmony from her sister Andi, written to steady a friend entering motherhood. “Two Weeks” works the darker shore: the neighbors demolished the cottage next door and raised a grey tower they rarely visit, and Senior folds the episode into a fingerpicked lament Nick Drake would recognize. Her voice sits between Sandy Denny’s clarity and Vashti Bunyan’s hush. This is her first album with an American label, SPINSTER. You will not find her on Spotify; she pulled her catalog in 2025 and does not appear to miss it. 墨爾本民謠歌手搬到維州海濱小村 Anglesea，在紅土路盡頭的沙岩小屋裡寫出第五張專輯。〈Mothersong〉是 Pentangle 式吉他 riff 加長笛，和親姐 Andi 的血緣和聲，寫給剛當媽媽的朋友；〈Two Weeks〉的來歷更扎心：鄰居拆掉老海濱木屋，蓋起幾乎不來住的灰色巨宅，她用 Nick Drake 式指彈把這件事唱成輓歌。嗓音座標落在 Sandy Denny 與 Vashti Bunyan 之間。Spotify 上找不到她——二〇二五年起她把整個目錄撤了下來，聽全碟請去 Apple 或 Bandcamp。
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