Daily Drops · Vol.117每日唱片 · Vol.117
The Case Oats guitarist steps out front — and brings Spencer Tweedy behind the kit for two of the songs. 芝加哥的同一週：一張在冰湖邊獨處寫成，兩張在地下室對著死亡尖叫
Max Subar — Anything Could Be（Pick）
Max Subar plays guitar in Case Oats, and for his first record under his own name he went looking for somewhere quiet to be alone. He found a house on a frozen lake in Wisconsin, hauled a mobile rig inside, and spent ten days there laying down the bones of these eleven songs. The solitude is legible in the result, though it never tips into the airless self-regard that solo-in-a-cabin records so often invite. Friends arrived to fill it out: his brother Sam on drums, his Case Oats bandmate Spencer Tweedy behind the kit on "I Never" and "Way Up," Sarah Weddle adding vibraphone and organ. What emerges sits on the threshold between staying put and moving on, warm and unhurried and quietly sure of itself. A first-rate debut, and Merge knew to grab it. 芝加哥創作歌手，也是樂團 Case Oats 的吉他手。這回他單飛，把一套行動錄音設備搬進威斯康星一座結冰湖畔的房子，一個人待了十天，才錄下這張處女作的骨架。同團的 Spencer Tweedy（Jeff Tweedy 的兒子）過來替〈I Never〉和〈Way Up〉打了鼓，Sarah Weddle 添上顫音琴與電鋼。整張停在原地與往前走之間，聲音是暖的，話卻說得很輕。第一次簽進 Merge，開場就穩。今日 Pick。
Hill Collective — Fire in Orbit
Hill Collective are a Brighton ensemble led by the alto saxophonist Pete Piskov, formerly of the Ancient Infinity Orchestra, and they cut this in three days flat. It is spiritual jazz in the direct line of Sun Ra and Pharoah Sanders: four long pieces, a mixed-voice chorus threaded through the horns, the whole thing tilting toward communal rite rather than solo showcase. The title track opens at the piano before a double bass drops the floor out beneath it; the closer, "Song for a Blossom Baby," slides into a modal, faintly Eastern light. Recorded fast, it keeps the looseness of a room full of people deciding together where to go next. 英國布萊頓的合奏團，中音薩克斯手 Pete Piskov（前 Ancient Infinity Orchestra）領頭，三天就在錄音室裡把整張收完。只有四首長曲，一路從鋼琴獨奏推進到貝斯律動，一支混聲合唱在上頭盤旋，像一場集體祈禱。收尾的〈Song for a Blossom Baby〉忽然轉進調式，把人一把拉回 Sun Ra 與 Pharoah Sanders 的血脈。
harupii（ハルピー／平松遙） — Eureka Moment
The Kamakura pianist harupii makes no secret of her ambition: she wants to play Blue Note Tokyo, and this third album is built to get her there. The tunes are immediate, almost pop in their pull, but the meters keep shifting underneath, so that a melody you think you have memorized has quietly moved a beat by the time it comes back around. She cites the fiction of Dazai Osamu as a starting point, which suits a record that keeps circling the gap between accomplishment and worth. The closing "Eureka" is a plain, clear ballad whose message is about as unguarded as jazz gets: you are worth loving even if you have made nothing of yourself. 鎌倉的鋼琴家與作曲人，第三張專輯，志向直指 Blue Note Tokyo。旋律寫得抓耳，拍號卻在底下一路偷換，你以為聽熟了，它又挪了一步。她說靈感來自太宰治的小說。收尾的〈Eureka〉是一首清冽的抒情曲，講的意思很簡單：就算什麼都沒成就，你也值得被愛。鼓手赤瀨楓雅。
Maya de Vitry — All My Faith
For her fifth solo album Maya de Vitry set a single rule: whatever you hear was played in the room, in real time. Over three days last November at a Tennessee barn studio called The Tractor Shed, she and a small band tracked the whole thing live, no overdubs papering over the seams. The gamble pays off in the give of it—Kaitlyn Raitz's cello and Ethan Jodziewicz's upright bass breathing with the songs rather than propping them up. "Confidence of the Sun" is the obvious way in, but the record rewards sitting with the quieter middle. 第五張個人專輯。去年十一月的三天，她在田納西一間叫 The Tractor Shed 的棚裡全程現場收音，你聽到的每一聲都是當下捕捉的，沒有後製補丁。大提琴（Kaitlyn Raitz）和低音提琴（Ethan Jodziewicz）把整張穩穩托住，單曲〈Confidence of the Sun〉是個好入口。
Philharmonia Orchestra / David Trippett — Andrew Downes: The Marshes of Glynn & Song of the Prairies
英國當代作曲家 Andrew Downes（1950–2023）兩部合唱管絃作品的世界首次錄音。《The Marshes of Glynn》題目取自美國詩人 Sidney Lanier 那首寫海邊沼澤的長詩，三個樂章從極慢極靜起手；另一部《Song of the Prairies》四個樂章。David Trippett 指揮 Philharmonia，把一個長年被略過的名字，第一次好好放進唱片裡。
Bleached Cross — Wrath
The second of the week's three Chicago records, and by some distance the darkest. Bleached Cross stage grief as psychological horror—ten tracks running from "Thorn Crown" to "Requiem" to the title closer, recorded with Andy Nelson at Bricktop. A guest voice, Harlee Young, surfaces on "Tomb." The label's own note frames the thing plainly: death will speak if you listen. It is loud and oppressive by design, but there is a shape to the oppression, a movement from downfall toward something like repair, that keeps it from becoming mere endurance. 芝加哥的 post-punk 樂團，把哀悼當成一部心理恐怖片來寫。十首歌從〈Thorn Crown〉一路排到〈Requiem〉再到同名的〈Wrath〉，Andy Nelson 在 Bricktop 錄音，〈Tomb〉裡有客座人聲 Harlee Young。廠牌那句文案下得很重：死亡若你肯聽，它就會開口。吵，但吵得有方向。
Cel Ray — Cel Rayzer
The third Chicago band, and the one having the most fun. Cel Rayzer is Cel Ray's debut for Exploding In Sound, mastered by Mikey Young of Eddy Current Suppression Ring, and it takes the smallest daily irritations—the price of gas, phone stuff, gossip, trash—and screams them into big, dexterous art-punk. Maddie Daviss sings like she is enjoying the annoyance. The titles alone tell you the temperature: one track is called "Chitty Chitty Bang Bang," another "Teen (Cult) Song." Nasty, funny, over before it wears out. 同樣來自芝加哥，這是他們簽進 Exploding In Sound 的首專。主唱 Maddie Daviss，Mikey Young（Eddy Current Suppression Ring）做母帶。油價、八卦、手機、垃圾——日常裡最瑣碎的那些，全被吼成又髒又利的噪音。選曲名一個比一個荒唐，其中一首直接叫〈Chitty Chitty Bang Bang〉。
Sam Blasucci — Black Rose
Sam Blasucci is one of the two voices in Mapache, and on his own he trades the band's twinned harmonies for a soft, single-track glow, closer to dream pop than to the folk-rock he usually keeps. Ten songs, gentle and evening-shaped. Nothing here strains for your attention, which is rather the point. Mapache 兩位主唱之一單飛。少了那對招牌和聲，他把聲音放進一層柔光裡，往 dream pop 的方向走。十首歌不急不徐，適合傍晚。
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