Daily Drops · Vol.114每日唱片 · Vol.114
On New Year's Day, Kate Carr traced London by altitude—from twenty metres under the Thames to the top of the Shard. 一卷擱了十六年的孟買母帶，補完成了給一位塔布拉大師的告別。
Kate Carr — Vertical London (New Year's Day)
- Label廠牌
- Persistence of Sound
- Released發行
- 2026-07-17（Bandcamp `releases 17 July 2026`，item_id 432900932，親測）
The premise sounds like a stunt and plays like a diary. Carr, who has spent years pointing microphones at overlooked places, set herself one rule for New Year's Day: go up. The album climbs from roughly twenty metres below sea level—the Victoria Line, the Greenwich foot tunnel with its joggers and echoes—to two hundred and forty above, in the bar near the top of the Shard, where a staff member welcomes visitors to "the View" as the city twinkles pointlessly below. In between there are delivery trolleys, a squeaky transport barrier she stops to celebrate, a man playing piano outside an Aldi, and a long, aggrieved queue for the London Eye, whose commentary she rates, accurately, as awful. What keeps this from being novelty is her ear for infrastructure: the electromagnetic hum of the DLR, which she declares the best-sounding train in London, becomes a drone you follow uphill. The titles read like text messages. The effect is of eavesdropping on a whole city and one tired, funny, attentive person at the same time. Kate Carr 做田野錄音很多年，這次她給新年第一天定了一條古怪的規矩：只往上走。整張唱片沿倫敦的「海拔」而不是南北向排列，從海平面下大約二十公尺（維多利亞線的深處、泰晤士河底那條格林威治人行隧道）一路爬到二百四十公尺高、碎片大廈頂樓那間快打烊的酒吧。二十二軌，曲名全是當天的碎念：「DLR 大概是倫敦電磁意義上最好聽的一班車」「在 Aldi 門口撞見一個彈鋼琴的男人」「排隊上倫敦眼，隊伍很爛、解說更爛，風景倒是真的漂亮」。真正撐住這張的，是她對基礎設施的耳朵：地鐵與 DLR 的電磁嗡鳴，被她當成一條可以跟著往上爬的低音。你聽的是一整座城市的雜訊，同時也是一個人一整天的疲憊、好奇與偶爾的不耐。跨年的隔天聽它，剛好。
Joe Hisaishi (久石讓), Royal Philharmonic Orchestra & Emmanuel Ceysson — Symphony No. 3 (Metaphysica) & Harp Concerto
- Label廠牌
- Deutsche Grammophon
- Released發行
- 2026-07-24（iTunes releaseDate 6777957798 `2026-07-24`，親測）
Hisaishi is so bound up with Miyazaki in most listeners' minds that it's easy to forget he writes concert music at all, and stranger still to find him on the podium of the Royal Philharmonic conducting a symphony he calls Metaphysica. The one to hear is the harp concerto. Emmanuel Ceysson is the soloist, and Hisaishi has said he wanted something "wild, ferocious," the opposite of the instrument's usual job as celestial wallpaper. He mostly gets it: the writing is percussive and combative, the harp less harpist-at-a-wedding than a boxer working a bag. The symphony reaches for Mahler and minimalism and, by the composer's own admission, borrows the grid-logic of a sudoku, which explains both its patience and its occasional chill. It's a great many ideas held at arm's length. But the ambition is real, and it is not a soundtrack. 在大多數人的印象裡，久石讓幾乎等於宮崎駿與吉卜力。可這張 DG 新碟提醒你，他一直也在寫正經的音樂會作品：他親自站上指揮臺，帶皇家愛樂端出一首名為《Metaphysica（形而上學）》的交響曲。據 Presto 的介紹，這首交響曲的結構借了馬勒、極簡主義，甚至數獨的填格邏輯，這解釋了它的耐性，也解釋了它偶爾的冷。老實說交響曲有點端著。這張真正好玩的是那首豎琴協奏曲：獨奏是 Emmanuel Ceysson，久石讓說他要的是「狂野、兇猛」，刻意跟豎琴那套天使般、婚禮般的優雅唱反調。而他大致做到了，寫法帶敲擊性、好鬥，豎琴不再是背景牆紙，倒像一個在沙袋前出拳的人。企圖是真的，而且，這不是電影配樂。
Hertfordshire Chorus / David Temple — Parry: De Profundis · Elgar: From the Bavarian Highlands
- Label廠牌
- Signum Classics
- Released發行
- 2026-07-17（iTunes releaseDate 6774560625 `2026-07-17`；Signum SIGCD1005 官方頁確認，親測）
Hubert Parry is remembered, when he is remembered, for "Jerusalem," which is a bit like remembering Wren for a single doorway. This Gramophone Editor's Choice makes the case for his De Profundis, a twelve-part setting of Psalm 130 that spends its length climbing out of the depths it names. David Temple's Hertfordshire Chorus sings it with the slightly rough warmth of a large, amateur-rooted choir, which suits music about ordinary people asking to be raised up. The Elgar pieces around it—the Bavarian Highlands songs, The Snow—are lighter company, and welcome. Parry has stood in Elgar's shadow for a century; here, briefly, the balance tips his way. 英國作曲家帕裡（Hubert Parry），大眾記得的多半隻有那首《耶路撒冷》，這有點像記得建築師雷恩只因為一扇門。這張拿下《留聲機》八月號編輯之選的唱片，替他翻案：核心是長年被同代埃爾加蓋過風頭的大型合唱《De Profundis》，取自詩篇一百三十「我從深處向你呼求」，整首曲子就是一段從深處往上爬、從懺悔走向盼望的路。David Temple 指揮的赫特福德合唱團是編制龐大的民間合唱團，聲音略帶粗糙的暖意，唱這種「凡人求人拉一把」的音樂反而正對味。碟裡另收帕裡的《God is Our Hope and Strength》，以及埃爾加的《From the Bavarian Highlands》《The Snow》，擺在旁邊是輕鬆的陪襯。帕裡在埃爾加的陰影裡站了一個世紀，這裡，總算短暫地把天平壓回了自己這邊。
Charles Lloyd, Zakir Hussain & Eric Harland — Sangam & Friends
- Label廠牌
- Blue Note
- Released發行
- 2026-07-24（iTunes releaseDate 6772378942 `2026-07-24`；Blue Note 官方確認，親測）
Sangam was the trio Lloyd built two decades ago with the tabla master Zakir Hussain and the drummer Eric Harland—one saxophone and two very different sets of hands, in conversation. Hussain died in December of 2024, and this record is partly a wake: it completes a set of recordings made in Mumbai in 2009 and opens the circle to more Indian players, so the old three-way talk becomes a crowded room. Some of the original's intimacy goes with the expansion. What arrives instead is closer to a procession—Lloyd's tone still ecstatic and searching at eighty-seven, Hussain's tabla, captured well before the end, threading through the ensemble like a pulse nobody wants to stop feeling. The miracle of it is hearing him still in the middle of the music, not eulogized from outside it. 這是今天最重的一張，也最讓人不捨。Sangam 原本是薩克斯手 Charles Lloyd 二十年前組的三重奏：他、塔布拉宗師 Zakir Hussain、鼓手 Eric Harland，一把管樂加上兩雙截然不同的手在對話。Hussain 已於二〇二四年底離世。這張《Sangam & Friends》把二〇〇九年擱在孟買、一直沒做完的一批錄音補齊，再擴編更多印度樂手，作為對他的告別：原本三個人的三方對談，如今變成一屋子人的送別。擴編之後，原版那種私密確實少了一些，換來的更接近一場列隊般的儀式，八十七歲的 Lloyd 音色依舊狂喜而求索，而 Hussain 的塔布拉，是在他離開之前就錄下的，一下一下穿過整個合奏，像一個沒有人捨得喊停的脈搏。最難得的是，你聽見的是他本人還在其中演奏，而不是在外圍被追悼。
Luke Haines — Izzy Wizzy Let's Get Busy
- Label廠牌
- Cherry Red
- Released發行
- 2026-07-10（iTunes releaseDate 6776988013 `2026-07-10`；Bandcamp 親測）
Leave it to Luke Haines to devote an entire album to the magicians of British children's television—the Sooty catchphrase that gives the record its title, the smell of a provincial magic shop, the sweaty light-entertainment conjurors of the nineteen-seventies. Haines has spent thirty years finding subjects nobody else would touch (nuclear bunkers, British wrestling, now this) and treating them with a scholar's seriousness and a vandal's glee. The songs are shaggy, tuneful, faintly menacing. You don't need to know who Tommy Cooper was to enjoy them, though it helps, and by the end you may be unable to hear "izzy wizzy" without a small chill. Reliable, in the best way: the man has a lane, and it is a strange one. 大概也只有 Luke Haines，會拿一整張專輯去寫一九六〇、七〇年代英國兒童電視裡的魔術師。專輯名那句「Izzy Wizzy Let's Get Busy」，正是木偶魔術節目《Sooty》的變戲法口令。這位前 The Auteurs、Black Box Recorder 的老將，三十年來專挑別人不會碰的題材（核子避難所、英國職業摔角，這回輪到電視上那種廉價、汗涔涔的變戲法），再用學者的認真加上破壞者的壞笑去處理。歌曲鬆散、上口、隱隱發毛。你不必認得 Tommy Cooper 是誰也照樣聽得下去，不過認得會更好玩；聽到最後，你可能會發現自己再也沒法平心靜氣地聽那句「izzy wizzy」。一貫地可靠，以最古怪的那種方式——他有自己的一條路，而那條路很怪。
Mesh — No Fun At All
- Label廠牌
- Feel It Records
- Released發行
- 2026-07-24（Bandcamp `releases 24 July 2026`，item_id 1016581597，親測）
Five years after a home-recorded cassette, this Philadelphia four-piece turns in a proper debut, and the wait shows in the clarity. The bones are early British post-punk, spindly and tense, but Allison Durham's twelve-string keeps brightening the scowl into a jangle. "Atrophy" is the sunny one; "Violent Peasant" airs a landlord grievance in mock-medieval dress, which is a very Mesh way to be furious. The label sign-off tells you to spin it until your turntable breaks. On this evidence you might. 費城四人組 Mesh，蟄伏五年才交出這張首張全長，而這五年的等待，全寫在聲音的清晰度上。他們二〇一九年組團，二〇二一年先出過一盤自製卡帶，之後一直在本地寫歌、跑中西部與東岸的巡演。底子是早期英式後龐克，瘦、緊、繃著，可 Allison Durham 的十二絃一進來，就不斷把那張臭臉擦亮成叮噹作響的 jangle。〈Atrophy〉是全碟最亮的一首；最損的〈Violent Peasant〉，用一套假中世紀的口吻去寫當代房東與租客之間的不對等，連發火都要拐個彎，這很 Mesh。廠牌文案最後撂下一句：放到你的唱盤轉壞為止。就這張的成色，你還真有可能照做。
Mohamed Bourouissa — LILA
- Label廠牌
- PAN
- Released發行
- 2026-07-24（iTunes releaseDate 6769806487 `2026-07-24`；Bandcamp 親測）
Bourouissa is known as a photographer and visual artist, the kind whose work hangs in museums, and LILA, on the reliably strange label PAN, is his first album. Its organizing conceit is simple and a little vertiginous: twelve tracks, each named for a person in his life. The music is weightless and synthetic, threaded with Auto-tune that keeps fraying at the edges, as though the memories were arriving from somewhere with poor reception. A man who has spent his career fixing people in images here lets them dissolve into sound instead, which turns out to suit them. It's a portrait album you can't look at, only overhear. Mohamed Bourouissa 是法國（阿爾及利亞裔）相當知名的攝影師與視覺藝術家，作品進得了美術館；《LILA》出在一向冷門硬派的實驗廠牌 PAN，是他的第一張音樂專輯。它的組織方式簡單，卻讓人有點暈：十二首曲子，每一首以他生命裡的一個人命名。音樂失重而合成，纏著一層不斷在邊緣碎裂的 Auto-tune，彷彿那些記憶是從一個訊號很差的地方傳來的。一個花了整個職業生涯用影像把人定住的人，這一次任由他們在聲音裡化開——結果意外地適合他們。這是一本你看不了、只能偷聽的肖像簿。
川辺素 (Moto Kawabe / ミツメ) — 行方不明 (Missing)
- Label廠牌
- 自主製作（via TuneCore）
- Released發行
- 2026-07-01（iTunes releaseDate 6780739752 `2026-07-01`；TuneCore 本日配信確認，親測）
Kawabe plays guitar in mitsume, one of the steadier bands in Tokyo's indie middle distance, and 行方不明—"Missing," or "whereabouts unknown"—is the first record he has made entirely alone. He wrote, arranged, and produced all nine songs himself, and you can hear the solitude in them: the arrangements leave more air than a band would tolerate. It's quieter and more interior than mitsume's work, a sideman finding he has an inside voice. The title is the tell. A man who usually stands to one side of the frame steps out of it, and for a while can't be found.
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