Daily Drops · Vol.123每日唱片 · Vol.123
Two men, one near-love that went nowhere — thirteen songs split into a desire side and a shame side. 舒曼最後一部聲樂套曲，唱的是上斷頭臺前的蘇格蘭女王瑪麗。
Picture — Uuuuuuuu
- Genre類型
- Dub Techno / Experimental Electronic
- Label廠牌
- Short Span（英國 Sheffield）
- Format介質
- Vinyl / Streaming（2×12"）
- Released發行
- 2026-07-17（一手：Bandcamp `released 17 July 2026`）
Pitchfork gave this Best New Music, which is a strange laurel to hang on a record so allergic to event. Picture is a pseudonym of the Danish producer Natal Zaks, and Uuuuuuuu is the follow-up to February's Eeeeeee, part of a running joke in which each title, and each of the seven tracks — "Quuuuuu," "Miiiiiii," "Wooooooo" — is a single vowel stretched past sense. The music is dub techno pared to almost nothing: a filter opening and closing, a hi-hat, a bass pulse, and above all the stereo field, which Zaks works like a lever, sliding sounds from one ear to the other until the room seems to tilt. It should be boring and somehow isn't; the smaller the gesture, the harder you lean in. A record that rewards the volume knob and a good pair of headphones. 今天的 Pick，也是最不像「大事」的一張。Picture 是丹麥製作人 Natal Zaks 的別名，《Uuuuuuuu》接續二月那張《Eeeeeee》，是一個一直在玩的哏：整張碟名、還有七首曲子〈Quuuuuu〉〈Miiiiiii〉〈Woooooo〉，每一個都是一個母音被拉長到失去意義。音樂是削到幾乎見骨的 dub techno：一個濾波器開開關關、一記 hi-hat、一條貝斯，剩下的全押在立體聲場上。Zaks 把左右聲道當一根槓桿使，把聲音從一隻耳朵慢慢挪到另一隻，整個房間就跟著傾斜。照理這麼少的東西該悶死，它偏偏相反，手勢越小，你越往裡湊。Pitchfork 給了 Best New Music。這種碟不是放給空間聽的，是放進耳機裡、放進顱骨裡的。
SMZB 生命之餅 — 在野之王
- Genre類型
- Celtic-Punk / Street-Punk
- Label廠牌
- 獨立發行
- Format介質
- Streaming
- Released發行
- 2026-07-12（一手：Bandcamp EN 版 `released 12 July 2026`）
SMZB 的唱片幾年前就被中國串流抹掉了，所以這張三十週年的新作，只能用剩下的方式落地：一次發中英兩版、不同封面、同樣十二首，全掛在 Bandcamp 上。1996 年在武漢成軍，公認是這座城市第一支龐克樂團、也是全國最早的一批。三十年來他們一直把愛爾蘭風笛跟小提琴揉進街頭龐克裡，那股凱爾特味本該像穿了戲服，聽起來卻是穿慣了的。主唱兼吉他吳維是唯一的常駐成員，先移居葡萄牙、再到英國，這張就在那裡完成。他們 2020 年那張專輯的 Bandcamp 頁面上，還留著一句話：大部分實體唱片被政府部門沒收了。這回最重的一首是〈亞細亞的孤兒〉——這個題目，他們扛得起。一支靠賭氣繼續存在的樂團，這股賭氣很合適他們。
Matthias Goerne / Markus Hinterhäuser — Schumann: Zwielicht
- Genre類型
- Lieder / Classical
- Label廠牌
- Deutsche Grammophon
- Format介質
- Streaming / Hi-Res
- Released發行
- 2026-07-24（一手：Apple 6776624529 `2026-07-24`；Presto 7/31 Round-Up 收錄）
Zwielicht — twilight — walks Schumann from one end of his song-writing to the other. It opens in the fertile ground of 1840, the Liederkreis Op. 39 on Eichendorff, and closes on the Gedichte der Königin Maria Stuart, Op. 135, his last cycle, written late in 1852 as his health gave way, setting German translations of poems attributed to Mary, Queen of Scots on the eve of the scaffold. Goerne sings it the way he sings everything now, in a veiled, inward baritone that makes you work toward the words; Hinterhäuser, better known as the man who runs the Salzburg Festival, plays with the same refusal to console. It gets colder the longer it goes. A good place to start with Schumann's songs, provided you don't mind starting at dusk. Zwielicht，暮色。這張把舒曼的歌曲創作從一頭走到另一頭：開在 1840 那個豐產的「歌曲之年」，Op. 39 的艾興多夫組曲；收在《瑪麗女王詩篇》Op. 135——他最後一部聲樂套曲，寫於 1852 年底，健康正在崩潰的時候，配的是傳為蘇格蘭女王瑪麗（上斷頭臺前）所作、再譯成德文的詩。中間還夾著《威廉·邁斯特》裡豎琴手的歌。Goerne 用他如今那種蒙著一層紗、往內收的男中音唱，逼你自己走向每一個字；Hinterhäuser（大家更熟他是薩爾茲堡音樂節的總監）的鋼琴，同樣一絲不肯安慰你。這張越唱越冷。要從歌曲入舒曼，它很穩，只是你得接受，這趟是從黃昏開始走的。
Kevin Atwater — Blush Red
- Genre類型
- Indie Folk / Singer-Songwriter
- Label廠牌
- Mutual Friends
- Format介質
- Streaming
- Released發行
- 2026-07-10（一手：Bandcamp `released 10 July 2026`；Apple 1895299839 `2026-07-10`）
Kevin Atwater is one man rather than a band, and Blush Red, his second album, is built as a diptych: thirteen songs cut down the middle, the first seven a desire side and the last six a shame side, tracing a near-love between two men that never quite becomes one. He built it slowly and in public — "til august," now buried at track twelve, went out as a single back in February, with others trickled through spring — so the record arrives less as a bulletin than as something you've half-heard already. The folk is soft on its surface and less soft underneath. It's the kind of confessional writing that could tip into diary, and mostly doesn't. Kevin Atwater 是一個人，不是樂團。第二張《Blush Red》被他做成一組對摺：十三首切成兩半，前七首是「慾望」，後六首是「羞恥」，寫的是兩個男人之間一段始終沒有變成愛的東西。他鋪得很慢，也很公開——如今埋在第十二軌的〈til august〉，早在二月就先當單曲放出，之後春天陸續又放了幾首，到七月才把整張合起來，所以這張碟落地時，你其實已經半熟了。民謠的表面很軟，底下沒那麼軟。這種自白式的寫法很容易滑成日記，他大半時候沒有。酷兒創作歌手裡，有真實討論度的一個。
ジ・エイト (the 8) — Mellow Yellow
- Genre類型
- Indie Rock / New Wave
- Label廠牌
- Be silly record / BEATNIK GROOVE
- Format介質
- CD / Streaming
- Released發行
- 2026-07-15（一手：Apple JP 6780753765 `2026-07-15`；℗ 2026）
A four-piece out of Nishiogikubo in Tokyo, the 8 put out their second album and their first band "reader" — an actual book about themselves — on the same day, which tells you something about the scale of self-mythology at work here. Mellow Yellow is new-wave scaffolding under 2000s J-rock melody, distorted guitars sanded into pop. One song is titled, plainly, "Blues of the Ice-Age Generation." They mean it lightly, mostly. 有首歌直接叫〈冰河期世代的藍調〉。ジ・エイト 是東京西荻窪的四人組，主腦 Ueki 來自前團 Double O Theresa。第二張《Mellow Yellow》，新浪潮的骨架撐著 2000 年後那種 J-rock 的旋律感，失真吉他磨成一層流行。曲目很直白：〈TOKYO CITY HARDCORE〉〈花火大會〉〈第四國歌〉。最耐人尋味的是，這張跟他們第一本官方樂團讀本《ジ・エイト読本》同一天發——一支還不算大的團，已經開始替自己立傳了。輕，但不空。
Halftribe — Disappear in Silent Ways
- Genre類型
- Ambient / Electroacoustic
- Label廠牌
- Dronarivm（荷蘭氛圍名廠）
- Format介質
- Vinyl / CD / Hi-Res
- Released發行
- 2026-07-10（一手：Bandcamp `releases 10 July 2026` / credits `releases July 10, 2026`）
Ryan Bissett, who records as Halftribe, follows 2022's well-liked Elegant, Golden with a set whose track list reads like a taxonomy of vanishing: "Murmurations," "Tyto Alba" — the Latin for barn owl — "Sanctuary," "Everything Comes to an End." Field recordings drift under drones and modern-classical smears; the label calls it swirling goodbyes, which is close enough. It comes on green vinyl and a slider-case CD, physical objects for music about disappearing. Good company for the hour before sleep, or for anyone who'd rather leave quietly. 這是睡前那一小時的音樂，或者，你想安靜地不見的時候。Halftribe 是英國製作人 Ryan Bissett，這張接續他 2022 年那張評價很好的《Elegant, Golden》。曲名連起來幾乎是一份「消失」的博物學名錄：〈Murmurations〉（椋鳥群飛）、〈Tyto Alba〉（倉鴞的學名）、〈Sanctuary〉、〈Everything Comes to an End〉。田野錄音墊在 drone 底下，混上一層近乎現代古典的織體。實體出 12 吋綠膠，還有 discbox slider 的 CD——替一張講「消失」的碟，偏偏做了個能拿在手上的東西。荷蘭 Dronarivm 一貫的路數，安靜，但不空洞。
光速上臺領獎 — 夢·遊
- Genre類型
- Indie Rock / Dream-Pop
- Label廠牌
- 摩登天空（Game House 子廠牌）
- Format介質
- Streaming
- Released發行
- 2026-07-11（一手：Apple CN 6788230840 `2026-07-11`；℗ 2026 Modern Sky Game House）
The band's name translates, roughly, as "sprint on stage to collect the award," a joke about wanting recognition badly enough to embarrass yourself for it. Their debut full-length arrives on Modern Sky's Game House imprint, eleven tracks that alternate Mandarin and English and settle into a dreaming, wandering indie-pop — a song called "Portable Moon" is about the level of it. A Hangzhou band worth catching before the name stops being funny. 樂團名就是一句夢話：「光速上臺領獎」，那種急著被肯定、急到願意出糗的急。杭州樂團的首張全長，簽在摩登天空的 Game House 子廠牌下，十一首中英混唱，落在一種夢遊般的 dream-pop 上。曲目像〈隨身月亮〉〈夢遊之地〉〈極紅海岸〉，大致就是這張的溫度。它被知乎那份華語週度盤點點名為當週的「黑馬」。趁這名字還好笑的時候聽——這種樂團一旦被聽見，名字很快就不再是玩笑了。
Rheinische Kantorei / Edzard Burchards — Love & Devotion: German Baroque Motets from Leipzig
- Genre類型
- Early Music / Baroque / Choral
- Label廠牌
- CPO（555811-2）
- Format介質
- CD / Hi-Res
- Released發行
- 2026-07-31（一手：Apple 6789496480 `2026-07-31`；Presto 產品頁 `31st Jul 2026` + 7/31 Round-Up）
This one is a portrait gallery. Across a hundred and fifty years of German Baroque motets, it lines up the men who held the cantorate at Leipzig's Thomaskirche — from Tobias Michael, appointed in 1631 into the rubble of the Thirty Years' War, to Johann Adam Hiller, who took the post in 1789, the year the Bastille fell. Bach held it for twenty-seven of those years. The good idea is to include the men who applied and lost: Bach's pupil Johann Ludwig Krebs, and Werner Fabricius, set beside the incumbents who beat them. The opening "overture," a Krebs motet, spent years misfiled under Bach's name — the kind of clerical accident that flatters a student. It's also the Rheinische Kantorei's first recording under Edzard Burchards, after a long marriage to their founder. Careful, unshowy, quietly absorbing. 巴赫在萊比錫託馬斯教堂的領唱職位上，一共幹了二十七年。這張碟把歷任領唱人排成一條橫跨一個半世紀的長線，從 1631 年在三十年戰爭廢墟裡上任的 Tobias Michael，一路排到 1789 年（巴士底獄倒下那年）接手的 Johann Adam Hiller。真正的好主意，是連當年競聘這個職位卻落選的人也收了進來：巴赫的學生 Johann Ludwig Krebs、還有 Werner Fabricius，跟打敗他們的在任者並置著聽。開場那首 Krebs 的經文歌，甚至曾被誤歸在巴赫名下——這種抄寫室裡的烏龍，反而抬舉了學生。這也是萊茵合唱團在新指揮 Edzard Burchards 手下的第一張錄音，樂團跟創始人綁了很多年。剋制、不炫技，慢慢把你收進去。
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