Daily Drops · Vol.108每日唱片 · Vol.108

The autumn after Carla Bley died, Steve Swallow made a record that keeps 1957's hours. 他五歲在留聲機上聽見的三首舞曲，八十年後編進了自己的蕭邦。

Sunday, July 19, 2026 2026年7月19日星期日

01 Pick of the Day 今日精選

Steve Swallow — Winter Songs

Released發行: 2026-06-26（iTunes API releaseDate 一手；ECM 官網頁一致）

Steve Swallow is eighty-five, and Winter Songs is the first album to carry his name as leader in thirteen years; the last was Into the Woodworks, in 2013. He cut it at Sear Sound in New York in September 2024, less than a year after the death of Carla Bley, his partner in music and in life for four decades. You brace, a little, for an elegy. What arrives instead is warmth and a peculiar plainness — the nine tunes are titled only by number, "Two," "Four," "Six," "Eight," as if names would say more than he wanted to. Reviewers keep reaching for 1957, for the easy swing of an old Blue Note date, and they are right that the record keeps those hours: a six-piece band, with Chris Cheek's tenor and Gil Goldstein's piano, plays with the unhurried courtesy of people who have nothing left to prove. The effect is not nostalgia but consolation, a man building standards-shaped rooms because the shape itself holds the weight. 低音提琴宗師 Steve Swallow 八十五歲，交出十三年來第一張掛自己名字的領銜專輯（上一張《Into the Woodworks》是 2013 年）。錄音在 2024 年 9 月的紐約 Sear Sound，距離相伴數十年的伴侶 Carla Bley 過世還不到一年。你以為會聽到一整張輓歌，結果迎面而來的是暖意，和一種奇異的樸素：九首曲子全部只用數字命名，〈Two〉〈Four〉〈Six〉〈Eight〉，彷彿連取個名字都嫌多說了什麼。六人小編制（Chris Cheek 的次中音薩克斯、Mike Rodriguez 的小號、Gil Goldstein 的鋼琴），鬆弛到不急著證明任何事。不少樂評伸手去抓 1957 年，去抓一張老 Blue Note 的舒服搖擺，他們沒說錯，這張的確走著那個年代的鐘點。只是那份暖不作復古的姿態，更像一個人替自己蓋了幾間老式的房間，好讓重量有地方擱。今天我按得最多的一張。

Listen試聽 Apple Music

Elena Urioste & Tom Poster — Thème Varié

Released發行: 2026-07-17（iTunes API releaseDate 一手；Chandos CHAN20380 / Presto 7/17 新刊一致）

This is really an album about teaching. Its center is Guillaume Lekeu's G-major Violin Sonata of 1892, written for Ysaÿe by a young man who studied with César Franck — and Franck, it turns out, is the hinge of the whole program. He taught Lekeu; he taught Mel Bonis; Bonis in turn taught Charlotte Sohy, whose Thème varié lends the record its title. Urioste and Poster follow that line of descent through Messiaen, two Saint-Saëns élégies, and a nocturne by Elsa Barraine, and the pleasure is partly genealogical: you can hear a manner of phrasing passed hand to hand across four decades, mostly through women whose names never made the syllabus. 一張把三位被埋沒的女作曲家重新點名的唱片。專輯名借自 Charlotte Sohy 的《Thème varié》Op.15；串起全碟的，是 César Franck 的一條師承線——Franck 教過寫下核心那首小提琴奏鳴曲的 Guillaume Lekeu（1892 年獻給 Ysaÿe 的委約），也教過 Mel Bonis，而 Bonis 又教了 Sohy。Urioste 與 Poster 順著這條血脈走過 Messiaen、兩首 Saint-Saëns 的輓歌、Elsa Barraine 的一首夜曲。真正好聽的地方帶點家譜的味道：你能聽見一種運弓、一種句法，隔著幾十年一手交一手傳下去，而傳遞它的，多半是那些從沒被寫進教科書的名字。古典音樂史欠這些人一頁。

Listen試聽 Apple Music

Peter Donohoe — The Chopin I Love

Released發行: 2026-07-17（SOMM label 頁一手：SOMMCD 0726 / EAN 748871072626；iTunes 搜索 id 6769249698 一致）

The title is borrowed — from an Arthur Rubinstein LP that Donohoe wore out as a boy — and there is something disarming about a pianist of seventy-two naming his Chopin after someone else's. The bulk is the complete Op. 28 Préludes played straight through as a single arc, but the tell is the encore: the three Écossaises, Op. 72, which Donohoe says he fell for at the age of five, hearing Alexander Brailowsky on the family's wind-up gramophone. Seven decades of playing, and he ends where he began. 七十二歲的英國鋼琴家 Peter Donohoe，把自己的蕭邦專輯，用另一位鋼琴家的舊唱片來命名——少年時聽到磨損的一張 Arthur Rubinstein LP。專輯主體是完整的《二十四首前奏曲》Op.28，當成一整段連貫的弧線來彈，另加 Op.45、Barcarolle、Polonaise-Fantaisie 與兩首夜曲。真正洩底的是最後那三首《Écossaises》Op.72：他說五歲那年，在家裡的手搖留聲機上聽 Alexander Brailowsky 彈這幾首蘇格蘭舞曲，就一見鍾情。彈了七十年琴，一張蕭邦選集，最後停在他人生最早認得的那三首上。這種收尾，比任何炫技都動人。

FAUZIA — I Was Here For a Moment (EP)

Released發行: 2026-07-17（iTunes API releaseDate 一手 id 6769915838；Bandcamp album 頁 "released 17 July 2026" 一致）

FAUZIA has spent a decade as a producer's producer — a long-running NTS show, credits behind Kelela and Tirzah, and, in 2024, an opening set for Patti Smith under the dome of St Paul's. This four-track EP, her first for Mexican Summer, is the sound of that person stepping to the front of the room. It moves between dream-pop haze and something colder and more rhythmic, and the closer, "Just a dream," grew out of a late-night jam at a Brooklyn studio after her own show — the kind of song that keeps the door open behind it. FAUZIA 當了十年的幕後：一檔十年歷史的 NTS 電臺節目、Kelela 與 Tirzah 的製作、2024 年還在聖保羅大教堂替 Patti Smith 暖過場。這張四首的 EP，是她登陸 Mexican Summer 的第一份作品，也是這個一直站在幕後的人，走到臺前的聲音。音色在夢泡的霧氣和更冷、更帶碎拍的律動之間來回。收尾曲〈Just a dream〉是她自己在布魯克林演出結束後，在錄音室即興出來的——那種把門留在身後、沒關上的歌。

Quicksand — Bring On The Psychics

Released發行: 2026-07-17（Bandcamp album 頁 "released 17 July 2026" 一手）

Quicksand's first album in five years, and their third since the New York post-hardcore band reconvened. The news is in the method: where they once labored, they handed the record to Jon Markson — the producer behind Drug Church and Drain — and cut it in something like ten days. For a group famous for overthinking, the speed is the statement. 紐約後硬核老團 Quicksand（主腦 Walter Schreifels）五年來的第一張長片，也是重組之後的第三張。新聞不在曲風，在做法：一支向來以反覆打磨聞名的團，這回把唱片交給 Jon Markson（Drug Church、Drain 的製作人），大約十天就錄完。對他們而言，光是這個速度就夠說明一切。

Swapmeet — Mount Zero

Released發行: 2026-07-17（Bandcamp album 頁 "releases 17 July 2026" 一手）

A debut LP from an Adelaide four-piece who trade instruments and split the production between them, layering a song up to dozens of tracks and then quietly taking most of them away. What's left is slowcore with a lot of held breath in it. They have the local trophies to prove the songs land; this is the record that has to travel. 澳洲阿德萊德四人組的首張長片，接續 2024 年的 EP《Oxalis》，簽在洛杉磯廠牌 Winspear。四個人互換樂器、共同製作，一首歌先疊到幾十上百軌，再安靜地拿掉大半，剩下一種憋著一口氣的慢核。南澳音樂獎、SXSW Sydney 的新人獎他們都拿了；地方上的肯定夠了，這張要證明的是它能不能走得更遠。

Hawksmoor — Yclept Thorn

Released發行: 2026-07-17（Bandcamp album 頁 "released 17 July 2026" 一手）

James McKeown's dungeon-synth project makes its medieval dread out of analog machines breathing in and out of time. The tracklist reads like the index of a grimoire — Ockham, Aquinas, Trismosin, Llull — and the music has the same air of a scholar alone in a cold room with the wrong books. A small thing, on a cult horror-synth label, but it stays with you. 英國音樂人 James McKeown 的地牢合成器（dungeon synth）獨奏項目。他用類比合成器一呼一吸的切分，堆出一種中世紀、近乎部族的陰鬱。曲名單讀起來像一本魔法書的索引——Ockham、Aquinas、Trismosin、Llull，經院哲學與煉金術的典故一路排下去，音樂也真有那股獨自待在冷房間、翻著一堆偏門古書的氣味。小廠、小碟，發在英國一家 cult 恐怖合成廠牌，聽完卻黏著你不走。

鮮克 (Xiānkè) — 有終時無終日

Released發行: 2026-06-30（網易雲音樂首發獨家；知乎 week-27 華語新專輯 roundup 一手佐證）

A Chinese art-rock project I stumbled onto through a NetEase roundup, released at the end of June and, for now, streaming only there. The hook is simple and strange: they thread Kunqu-opera singing — the six-hundred-year-old vocal art — through synthesizers, across eight tracks built on a single theme. The name comes from an old proverb, roughly "few see things through to the end," which is either modest or nervy from a group finally delivering a debut album some six years after its first single. I can't vouch for more than a couple of listens yet, but the collision alone is worth your afternoon. 從一份網易雲的華語新碟榜單裡撿到的一張藝術搖滾，六月底發行，目前只在網易雲獨家上架。切入點很怪，也很妙：八首歌全繞著同一個主題，把崑曲的唱腔嵌進合成器裡。組合的名字和專輯標題都出自古訓「靡不有初，鮮克有終」——起頭的人多，善終的人少。從一個時隔首支單曲約六年才交出首張專輯的組合口中說出這句，要嘛謙虛，要嘛有膽。我還只聽了兩遍，不敢下太重的判斷；但光是崑曲撞合成器這一下，就值得你騰出一個下午。