Daily Drops · Vol.116每日唱片 · Vol.116
A trumpeter sat in on a house groove, quoted Coltrane, and texted the drummer that night — we have to record this. 一張專輯名長到得喘口氣，七首歌把英國民謠揉成一場胡鬧
Nicholas Payton & Butcher Brown — A Supreme Blue
The story goes that it began by accident. Nicholas Payton was in the audience at a Butcher Brown show, the Richmond band deep in one of their house-inflected grooves, when he climbed up and started threading the opening figure of Coltrane's "Acknowledgement" through the beat. By the end of the night he had texted the drummer, Corey Fonville, to say they had to make a record. What they made is nervier than the anecdote suggests. The first five tracks follow the running order of Kind of Blue; the last four take up the four movements of A Love Supreme. Arriving in the centenary year of both Miles Davis and Coltrane, it could easily have curdled into reverence, and mostly it declines to. Payton's trumpet keeps testing the funk underneath, looking for somewhere the old tunes have not already been. 把兩張最不敢碰的唱片縫進同一張：前五首照著 Miles Davis《Kind of Blue》的曲序走，後四首是 Coltrane《A Love Supreme》那套四段組曲。這件事的起點很隨意——小號手 Nicholas Payton 在維吉尼亞放克樂團 Butcher Brown 一場 house 律動的現場即興坐了進去，順手引了《Acknowledgement》的主題，當晚就傳訊給鼓手 Corey Fonville：這個我們得錄。今年剛好是戴維斯與柯川的百歲（兩人同生於 1926），這張趕在這個節點上出，本來最容易變成一場畢恭畢敬的致敬，結果他們偏不。放克的底、house 的推力、Payton 的小號在上頭來回試探，該冒犯的地方一點沒退讓，卻也沒有一處露怯。今日 Pick。
Robyn Hitchcock — The Confuser
Robyn Hitchcock has been writing his particular brand of English non-sequitur since the Soft Boys, and time has done nothing to sand it down. The novelty here is the setting. He took these ten songs to Nashville, and the Music City players give his surrealism a warm, jangling floor to stand on. The friction between the two is the pleasure: a line about death or a lizard lands inside an arrangement so poised it seems not to have registered what was said. He is in his seventies and still handling language like a toy he refuses to put away. Soft Boys 出身的英倫怪才，把叮噹作響的吉他搬進了納許維爾錄。南方棚音配上他那套冷不防的超現實歌詞，是兩種質地的錯位。六十幾歲的人，寫起字來還是那麼促狹。
Svindel — Drömfeber
Svindel are Swedish, and Drömfeber, which means "dream fever," is exactly the seventies pastiche the title promises: riffs first, questions later. There is nothing new in it. There is a great deal that is warm and loud, which on certain evenings is the more useful quality. Ripple Music continues its patient campaign to keep proto-metal in print. 瑞典團，專輯名是瑞典語的「夢裡發的高燒」。整張衝著七〇年代那股 raw power 去，riff 先行，不繞彎子。不新，但夠燙。
Nick Granata — My Heart is Running Backwards! A Martial Artist! With a Closed Fist! Woof!
Nick Granata plays in Shovel Dance Collective, the London folk revivalists, and his solo debut arrives under a title too long to reproduce without losing your place. The music is just as unruly. Across seven tracks he takes the bones of English folk song and reassembles them into something closer to a prank, though a prank built by someone who plainly loves the tradition he is teasing. The Quietus made it their album of the week, and the choice is easy to follow. It is the rare record that manages to be funny without being slight, its absurdities resting on real knowledge of where the form has been. First-rate nonsense. 專輯名長到得在中途喘口氣。英國民謠團 Shovel Dance Collective 的成員單飛，七首歌把英式民謠的老骨頭拆開，重新拼成一場胡鬧。荒誕歸荒誕，底下那股對傳統的熟悉騙不了人——正是熟到骨子裡，才敢這樣拿它開玩笑。The Quietus 這週把它擺在頭條。
Punch Brothers — The Unsung Adventures of Punch Brothers
For the first time in seven albums, Punch Brothers do not sing. The Unsung Adventures is entirely instrumental, Chris Thile's mandolin taking the narrating role a voice would usually hold. Bluegrass has always been a storyteller's music, and hearing it told without words turns out to sharpen the account rather than blur it. You find yourself listening to the interplay itself: who yields, who pushes, who drags a phrase somewhere the others have to scramble after. Eleven pieces, no lyrics, nothing much lost. 出道七張，這是頭一回一句詞都不唱。Chris Thile 的曼陀林在前面領路，藍草最擅長的那種敘事，第一次完全交給器樂去撐。少了人聲，反而聽得見這五個人每根弦上的算計——誰在讓、誰在搶、誰忽然把整段拉去別的調上。
Nathalie Stutzmann & Atlanta Symphony Orchestra — Bruckner: Symphony No. 4 Romantic
Nathalie Stutzmann spent decades as one of the finest contraltos in Europe before turning, relatively late, to the podium. Her Bruckner cycle in Atlanta reaches the Fourth, in the 1878–1880 text, and the singer's instincts are audible throughout. The famous horn call at the opening sits steadily on the strings' faint light, and the long crescendos that sprawl in other hands are paced by someone who knows, from the inside, how to sustain a phrase past the point where the breath should have given out. Patient, unhurried, certain of where it is headed. 唱了半輩子低音的女低音，改行站上了指揮臺。Nathalie Stutzmann 在亞特蘭大的布魯克納週期走到第四號，選的是 1878–1880 那一稿。開頭那幾聲圓號，在弦樂的微光上立得很穩——一個懂得怎麼用嗓子撐長句的人，處理起布魯克納那些漫長的漸強，耐心是有出處的。
Kenneth Woods / Raphael Wallfisch / BBC Scottish SO — John McCabe: Symphonies 2 & 3 and Cello Concerto Songline
一位幾乎被遺忘的英國作曲家（John McCabe，1939–2015），被 Kenneth Woods 重新拉了出來。全片的核心是那首大提琴協奏曲《Songline》，取材自澳洲原住民的「歌之路」——用 McCabe 自己的話說，是他們「唱進生命裡的隱形路徑」。Raphael Wallfisch 的大提琴拉得很沉，不炫技，像真在一條看不見的路上慢慢走。
Tookoo — Mountain and Ocean
Tookoo, the veteran Mandarin indie-rock band, return with a twelve-track record called Mountain and Ocean. I have spent less time with it than with the rest here, so I will leave it at that and keep listening. 華語老牌獨立搖滾，交出一張十二首的長專。留給你自己去聽。
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