Daily Drops · Vol.122每日唱片 · Vol.122

A whole people went extinct; the last speaker of their language was a parrot. 有一種雙旋翼直升機，是唯一能自己撞上自己的——她拿它當了一張唱片的名字。

Sunday, August 02, 2026 2026年8月02日星期日

01 Pick of the Day 今日精選

Hourloupe — Last Lost Word

Genre類型: Experimental / Electroacoustic / Spoken Word
Label廠牌: 自主發行
Format介質: Vinyl / Streaming
Released發行: 2026-07-31（一手：Apple 1896350415 `Released 2026-07-31`；Bandcamp Daily Album of the Day 7/31）

Hourloupe is Frank Menchaca, a painter and writer who also plays guitar, and Anar Badalov, who produces; Last Lost Word is their sixth record and by some distance the most novelistic. Menchaca took a fragment from Humboldt's South American journals — a people driven to the cliffs above a cataract and wiped out, their language surviving only in the mouth of a parrot that had learned it — and wrote his own short story around it, which became the album's scaffolding. The music honors the conceit without illustrating it. Pieces like "Broken Circle" open into long, unmoored drift, then snap shut into instrumental miniatures under a minute long, as if the record kept losing and recovering its own thread. The touchstones Menchaca names — Oneohtrix Point Never, Nicolas Jaar, Laurie Anderson, late Bowie — are audible but never load-bearing. What stays with you is the central image: a language down to one speaker, and that speaker a bird repeating sounds it cannot mean. Grief for a grammar. I have not stopped turning it over. Hourloupe 是兩個人：Frank Menchaca，一個會畫畫、寫東西、也彈吉他的人，加上做製作的 Anar Badalov。這是他們第六張，也是最像小說的一張。Menchaca 從洪堡的南美旅行筆記裡撿了一則事：一個部族被逼上瀑布的斷崖之後滅絕，能證明他們存在過的，只剩一隻學會了他們語言的鸚鵡。他就著這個故事寫了自己的一版短篇，拿它當整張碟的骨架。音樂沒有去圖解這個概念——〈Broken Circle〉這類飄忽的長段落，會突然收進不到一分鐘的器樂小品，像一條不斷丟失又接回的線。他自陳的坐標是 Oneohtrix Point Never、Nicolas Jaar、Laurie Anderson、晚期 Bowie，聽得見，卻沒有一個是支柱。真正留下來的是那個畫面：一門語言只剩一張嘴，還是一張不懂自己在說什麼的鳥嘴。我這週忘不掉它。

Arca — XXXXX

Genre類型: Experimental Electronic / Deconstructed Club / Avant-Pop
Label廠牌: XL Recordings
Format介質: Vinyl / Streaming
Released發行: 2026-07-31（一手：Apple 6771049554 `Released 2026-07-31`；Bandcamp `releases 31 July 2026`）

On the twenty-third of July, Arca premiered XXXXX in full inside a disused Barcelona factory, a broadcast that ran close to two hours before the record itself arrived. It is her first full-length since the KICK cycle closed in 2021, and the title — a bare row of X's — belongs to the same lineage as the mixtapes she named with rows of @'s and &'s: fast, feral, allergic to polish. Sixteen tracks move at mixtape speed, dropping each idea the moment it threatens to settle in. After the conceptual sprawl of the five KICKs, the pleasure here is meanness restored, the sound of someone deleting the connective tissue on purpose. The Quietus made it album of the week. It does not grow on you; it shoves, and it likes you slightly off balance. 7 月 23 日，Arca 在巴塞羅那一座廢棄工廠裡，用一場將近兩小時的實驗廣播，把《XXXXX》整張先播了一遍，唱片才正式落地。這是 KICK 五部曲 2021 年收尾之後，她的第一張全長。專輯名是一排 X——和她那些用一排 @、一排 & 命名的 mixtape 是同一個譜系：快、野、對精緻過敏。十六首都以 mixtape 的速度跑，念頭剛要坐穩就被丟開。五張 KICK 的龐雜之後，這張的爽點是狠勁回來了，像有人故意把段落之間的連接組織全刪掉。The Quietus 把它選為本週專輯。它不會慢慢長在你身上，是直接把你推得站不穩，還存心讓你一直站不穩。

Mallory Hawk — Chinook

Genre類型: Indie Rock / Post-Punk / Indie-Folk
Label廠牌: 自主發行
Format介質: Vinyl / Streaming
Released發行: 2026-07-31（一手：Apple 1895766308 `Released 2026-07-31`；Bandcamp `releases 31 July 2026`；Stereogum Album of the Week 7/28）

Before Chinook, Mallory Hawk had spent a decade as connective tissue in other people's bands: fronting the Brooklyn post-punk group Customer, playing in Trace Mountains, touring as bassist for Dublin's M(h)aol, co-running the label Double Double Whammy. This is her first record out front, alone. She named it after the CH-47 Chinooks that thudded over her military-town childhood in Fayetteville, North Carolina; her father's line about the aircraft — the only helicopter, he said, that can collide with itself, its twin rotors close enough to clip — becomes her figure for the kind of caretaking that turns on the caretaker. Sam Acchione, of Alex G's circle, produced; Margo Schultz, late of Wednesday, painted the cover. The songs earn the metaphor, generous and self-endangering at once, folk shapes roughed up at the post-punk edges. A debut that carries itself like a tenth album, because in every way but the credit, it nearly is. 《Chinook》之前，Mallory Hawk 當了十年別人團裡的連接組織：布魯克林後龐克團 Customer 的主唱、Trace Mountains 的成員、都柏林 M(h)aol 巡演的貝斯手，還合辦過廠牌 Double Double Whammy。這是她第一次一個人站到最前面。碟名取自她在北卡 Fayetteville 軍鎮童年裡那種 CH-47 雙旋翼直升機；她父親說，那是唯一一種能自己撞上自己的直升機，兩片旋翼近到能互相削到——這句話成了她寫「那種反過來傷到自己的照顧」的意象。製作找了 Alex G 班底的 Sam Acchione，封面由前 Wednesday 成員 Margo Schultz 手繪。歌撐得起這個比喻：慷慨與自傷同時發生，民謠的形狀被磨出後龐克的毛邊。首作，聽著卻像第十張；除了掛名，它幾乎哪裡都像。

Shannon Lay — Past the Veil

Genre類型: Folk / Psych-Folk / Singer-Songwriter
Label廠牌: All the Best Records（自建廠牌）
Format介質: Streaming
Released發行: 2026-07-28（一手：Apple 1892173801 `Released 2026-07-28`；Bandcamp `releases 28 July 2026`）

Shannon Lay describes Past the Veil as an exercise in turning toward discomfort and walking in far enough to come out the other side, which is a tidy account of a record that sounds anything but. It's her first since leaving Sub Pop for her own imprint, All the Best, and the freedom shows up as furniture: pedal steel, full strings, synth, piano, where before there was mostly a guitar and a room. Rob Shelton helped her record it. The folk bones are intact; the flesh around them is new. 離開待了多年的 Sub Pop、自建廠牌 All the Best 之後，這是 Shannon Lay 的第一張。自由直接變成了配器：踏板鋼棒吉他、整組弦樂、合成器、鋼琴一起進來，而過去她多半隻有一把吉他跟一個房間。錄音找了 Rob Shelton。她自己說這張是「朝著不適轉身，走進去，才走得出來」。民謠的骨還在，外面那層肉是新長的。這種變寬不吵，是一個人終於捨得把空間讓給更多聲音。

Reinhard Goebel — Music before Bach

Genre類型: Baroque / Orchestral / Early Music
Label廠牌: Pentatone（PTC5187592）
Format介質: CD / Hi-Res / Streaming
Released發行: 2026-07-31（一手：Apple 6769006852 `Released 2026-07-31`；Presto New Release Round-Up 31 July 2026）

Reinhard Goebel, who founded Musica Antiqua Köln and spent fifty years making old music sound like breaking news, has started a series, and its title carries the whole argument: Music before Bach. Volume one reconstructs the Leipzig that the young Bach walked into when he took over the Collegium Musicum at Zimmermann's coffee house in 1729 — the composers already in the water. There are world premieres here: an overture by Johann Beer, another by Heinichen, a horn concerto by Georg Melchior Hoffmann. BBC Music Magazine gave it four stars and a Choral Choice, praising the untrodden paths. It is a genealogist's record, and a quiet corrective: even Bach had a scene. Reinhard Goebel 創辦過 Musica Antiqua Köln，把古樂拉得像頭條新聞一樣有勁，做了五十年。這回他開了個新系列，標題就是全部論點：Music before Bach。第一輯去重建年輕的巴赫 1729 年在萊比錫咖啡館接手樂社時，走進去的那個聲音世界——那些早就在水裡的作曲家。裡面有世界首錄：Johann Beer 的序曲、Heinichen 的另一首序曲、Georg Melchior Hoffmann 的圓號協奏曲。BBC Music Magazine 給了四星與 Choral Choice，誇它探進了沒人走過的小徑。這是一張族譜式的唱片，也是一句安靜的更正：連巴赫，都有他的同代人。

Banksia Trio — The Great Noon

Genre類型: Modern Jazz / Piano Trio
Label廠牌: 自主製作（rings 發行）
Format介質: Hi-Res / Streaming
Released發行: 2026-07-22（一手：Apple JP 6791876665 `Released 2026-07-22`；Bandcamp 實體 7/31）

The Great Noon is the fourth album from Banksia Trio, and it keeps the method that set the third apart: sixteen channels of analog tape feeding a digital mix, a way of coaxing warmth and detail into the same room. The players are the reason to lean in. Takashi Sugawa, on bass, studied at Berklee and carries some of the harmonic strangeness of Masabumi Kikuchi, in whose orbit he worked; Shun Ishiwaka, on drums, is close to ubiquitous in Japanese jazz for the plain reason that he listens a half-second ahead of everyone. Masaki Hayashi's piano holds the middle. The title comes from Nietzsche's Zarathustra — the great noon, when the spirit stands at its height, done with nihilism, saying yes to its own life — a heavy epigraph for music this composed. It wears the weight lightly. 《The Great Noon》是 Banksia Trio 的第四張，延續了第三張讓人記住的做法：十六聲道模擬磁帶餵給數字縮混，讓溫度與細節待在同一個房間裡。真正值得湊近聽的是這三個人。貝斯手須川崇志是伯克利出身，帶著菊地雅章（Poo）那股和聲上的怪，也曾在他身邊工作；鼓手石若駿在日本爵士圈幾乎無所不在，理由很簡單——他總比別人早半秒聽見。林正樹的鋼琴守著中間。專輯名取自尼采《查拉圖斯特拉》裡的「偉大的正午」：精神登頂、甩開虛無、對自己這條命點頭的那一刻。題目很重，音樂卻舉得很輕。

堯十三 — 無效人生

Genre類型: Folk / Singer-Songwriter（西南方言）
Label廠牌: 摩登天空（Modern Sky）
Format介質: Streaming
Released發行: 2026-07-22（一手：Apple CN 6792713003 `Released 2026-07-22`）

Yao Shisan built his name on a 2011 song sung in the Zhijin dialect of Guizhou that folded a Song-dynasty poem by Liu Yong into a folk tune, and he has been grafting southwestern Chinese speech onto contemporary songwriting ever since. His new record for Modern Sky is called, flatly, An Invalid Life — eight songs that carry the title's fatigue without wallowing in it. The dialect does what standard Mandarin can't: it keeps the songs local, unglamorous, particular to one corner of the map. 堯十三是摩登天空、麻油葉一脈的創作者。他的成名作〈瞎子〉（2011）用貴州織金話唱，把柳永的《雨霖鈴》改寫了進去；這些年他一直把西南民間的調子，嫁接到當代寫作上。這張八首，題目直接叫「無效人生」，把那股疲態寫進去，卻不耽溺。方言替他擋住了普通話會帶來的那層光——歌因此是地方的、不體面的、具體到某一個角落的。這股底氣，華語獨立裡不常見。

Opus Kink — The Sweet Goodbye

Genre類型: Post-Punk / Jazz-Punk / Cabaret
Label廠牌: SO Recordings
Format介質: Vinyl / Streaming
Released發行: 2026-07-31（一手：Apple 1884056230 `Released 2026-07-31`）

Opus Kink spent years putting out EPs before this, their Brighton debut LP, and the wait bought them theater. The Sweet Goodbye is brass-forward punk with jazz and country worked into the joints and cabaret smeared over the top, produced by Craig Silvey with enough grit to keep it from tipping into pastiche. Angus Rogers fronts it as a ringmaster and a narrator you shouldn't trust, working a crowd that may not be there — "I'm A Pretty Showboy," "Peckham Nocturne," a song that simply hollers "Crucify!" Forty-six minutes of misrule. It could easily curdle; instead it struts. 銅管當家，把爵士跟鄉村揉進朋克，外面裹一層卡巴萊的戲——這是布萊頓這支團熬了幾年 EP 之後，交出的首張全長。製作是 Craig Silvey（Sam Fender、Florence + the Machine 班底），手上留了足夠的粗糙，才沒讓它滑進拼貼式的懷舊。主唱 Angus Rogers 把整張撐成一個馬戲團班主的獨角戲，一個你不該信的敘述者，對著一群未必在場的觀眾報幕：〈I'm A Pretty Showboy〉、〈Peckham Nocturne〉、一首直接吼「Crucify!」的曲子。四十六分鐘的胡鬧，本來很容易發膩，它偏偏一路神氣。