Daily Drops · Vol.127每日唱片 · Vol.127
A saxophonist turns 102, and the loosest record of his year exists only because someone else canceled a festival slot. 他在木板封窗的基輔博物館裡彈西爾維斯特羅夫，有幾場音樂會被空襲警報切成兩半。
The Mountain Goats — Days
- Genre類型
- Indie Rock / Singer-Songwriter
- Label廠牌
- Cadmean Dawn
- Format介質
- Streaming / Vinyl / CD
- Released發行
- 2026-08-07
The Mountain Goats' twenty-fourth album began as a joke. John Darnielle floated the idea of a song called "Contemplating Pearl Jam in the Carolina Dawn," decided it wanted a record built around it, and briefly called the thing Grunges, a sequel to 2017's Goths. Then his wife left for a two-week residency in Virginia — the same domestic vacancy that once produced All Hail West Texas — and the songs came. What they became is a tour of rock's junk drawer: a lament for Layne Staley, a shrug at Candlebox, an appreciation of Annie Haslam's imperial phase, a stop at Eddie Nash's grave, a treatise on the later Venom albums. The lead single, "Charlie Sheen Reaches Out to the Feds," sets the method: a punchline title that carries a real ache, delivered deadpan. "Crying on Eddie Nash's Grave" drags Boogie Nights-era Los Angeles into the same frame without winking. Darnielle cautions that most of these sit in major keys and that you shouldn't be fooled; the brightness is a costume. It is his funniest run of song titles in years and, underneath, one of his saddest reckonings with time. John Darnielle 的第24張，起點是一個玩笑。他在網上說想寫一首「在卡羅萊納的黎明裡想著 Pearl Jam」，本來要做《Goths》的續集，取名《Grunges》；後來太太出門去維吉尼亞駐村兩週——當年《All Hail West Texas》就是這樣寫出來的——歌就來了。十二首歌名排開，是一整面搖滾冷知識的墓碑：悼 Layne Staley、聳肩對 Candlebox、給 Annie Haslam 的全盛期、到 Eddie Nash 的墳前、談後期 Venom。他提醒你大半是大調，「別被騙了」，那份亮只是件戲服。這是他多年來最好笑的一組歌名，底下卻是他寫時間寫得最傷的一次。今天的 Pick。
Ceremony — Tell Me Your Dream
- Genre類型
- Post-Punk / Hardcore
- Label廠牌
- Relapse
- Format介質
- Vinyl / CD / Streaming
- Released發行
- 2026-08-07
Ceremony took their name from a New Order song and have spent twenty-one years living up to the ambivalence in it, drifting from the fastest hardcore in Northern California toward something colder and more deliberate. Their seventh album reunites them with John Reis, the Rocket From the Crypt and Hot Snakes lifer who produced 2015's The L-Shaped Man, and keeps the post-punk chassis while tightening the aim. "Madness" rides a near-danceable pulse and turns out to be about Palestine; Ross Farrar, who has taught poetry at Syracuse, writes indictments that actually scan. Ten songs, no fat. When the guitars on "Death Destruction Mayhem" lock into their two-note churn, the band sounds like it has finally stopped missing hardcore. 團名取自 New Order，成軍21年，從加州最快的硬核一路走到冷硬的後龐克。第7張又找回製作人 John Reis（Hot Snakes、Rocket From The Crypt，做過2015年的《The L-Shaped Man》），保留後龐克的底盤，把準星磨得更利。十首，沒有贅肉。「Death Destruction Mayhem」的吉他咬進那組兩音反覆時，你聽得出這支老團終於不再懷念硬核；「Madness」跳著跳著點名巴勒斯坦，主唱 Ross Farrar 是在雪城大學教過詩的人，控訴也押得上韻。中年人的憤怒，比青年時準。
Man/Woman/Chainsaw — Cannonball
- Genre類型
- Art-Punk / Chamber-Punk / Post-Punk
- Label廠牌
- Fiction
- Format介質
- Vinyl / CD / Streaming
- Released發行
- 2026-08-07
Man/Woman/Chainsaw are six Londoners who met around sixteen and still play as though daring one another. Cannonball, their debut for Fiction, runs three lead singers and a violinist through eleven songs that rarely agree on where they are headed: "Goddamn Lizard Man!" lurches, "Nosedive" sprints, and a viola keeps wandering in to chaperone the chaos. Margo Broom and Seth Evans produce with a hand light enough to leave the seams showing. Its best trick is making a roomful of competing voices resolve into one unruly instrument. 倫敦六人組，十六歲就湊齊，玩起來像還在互相下戰帖。首張《Cannonball》放三個主唱輪流，外加一把小提琴，十一首歌很少有哪一首打定主意要去哪：「Goddamn Lizard Man!」踉蹌，「Nosedive」狂奔，中提琴一次次晃進來，替混亂當監護人。製作是 Margo Broom（Fat White Family）和 Seth Evans（Geordie Greep），手很輕，故意把接縫留在外面。很滿，故意地滿；它最漂亮的一手，是把一屋子搶著開口的聲音，收成一件不聽話的樂器。
Roy Montgomery & Martha Skye Murphy — Nebular
- Genre類型
- Post-Rock / Drone / Folk
- Label廠牌
- AD 93
- Format介質
- Vinyl / Streaming
- Released發行
- 2026-08-07
Nebular was made the slow way, by post. Roy Montgomery, the Christchurch guitarist whose name is stitched into the Flying Nun story, and Martha Skye Murphy, the London singer three decades his junior, traded files and late-night messages across the time difference until five long pieces cohered. His guitar and piano hold the low, patient ground where post-rock, folk and drone overlap; her voice moves from something barely whispered toward pure abstraction. The album is shaped like a single day, "At Dawn" to "At Dusk," and it closes with Mary Lattimore's harp spilling over the seven-minute horizon. It asks for the kind of attention you give weather. 紐西蘭基督城的 Roy Montgomery（名字縫在 Flying Nun 的故事裡）碰上小他三十歲的倫敦女聲 Martha Skye Murphy，隔著時差深夜互寄檔案與訊息，像筆友，直到五首長曲成形。他的吉他與鋼琴壓在 post-rock、民謠與 drone 交界的低處，她的嗓音從幾乎聽不見的耳語滑向純粹的抽象。整張的形狀是一天：從「At Dawn」到「At Dusk」，收尾那首讓 Mary Lattimore 的竪琴漫過七分鐘的地平線。它要的是你看天氣那種注意力。
Marshall Allen — 101: An Audio Odyssey
- Genre類型
- Cosmic Jazz / Free Jazz / Fusion
- Label廠牌
- feat. Jamaaladeen Tacuma
- Format介質
- CD / Streaming
- Released發行
- 2026-07-24
Marshall Allen is a hundred and two years old, still runs the Sun Ra Arkestra, and made this record because somebody else's plans fell through. A cancellation at Knoxville's Big Ears festival freed up exactly the players the bassist Jamaaladeen Tacuma wanted — Nels Cline, Immanuel Wilkins and company — so he booked a studio on the spot and carried the tapes back to Philadelphia for Allen to finish. Allen plays alto saxophone, EWI and kora across eleven tracks with titles like "Extraterrestrial Groove" and "Cosmic String Slinger," and the music honors the goofiness: funk on the bottom, free jazz up top, fusion in the joints. There is no elder-statesman solemnity anywhere on it. He sounds like a man who took the room because the room was free. Marshall Allen 102歲，還領著 Sun Ra Arkestra，而這張錄音，是別人的計畫落空撿來的。諾克斯維爾 Big Ears 音樂節一檔臨時取消，貝斯手 Jamaaladeen Tacuma 想要的班底（Nels Cline、Immanuel Wilkins 等）剛好都空出來，他當場訂了錄音室，把母帶帶回費城給 Allen 收尾。Allen 吹 alto sax，也吹 EWI 和 kora，十一首歌名像「Extraterrestrial Groove」「Cosmic String Slinger」，音樂也配得上這份胡鬧：funk 打底、free jazz 在上、fusion 卡在關節。整張沒有半點大師的莊嚴，只有一個趁房間空著就進去玩的人。
Rebekah Heller — Righteous Rage
- Genre類型
- Contemporary Classical / New Music
- Label廠牌
- Cantaloupe Music
- Format介質
- CD / Streaming
- Released發行
- 2026-07-31
Rebekah Heller plays the bassoon, an instrument that spends most of its life as orchestral furniture, and her Cantaloupe debut is a sustained argument for what it can do alone, multiplied. Every part is Heller, overdubbed into a bassoon choir. She opens with a ten-bassoon arrangement of Julius Eastman's The Holy Presence of Joan d'Arc, transcribed from a 1981 performance, all serrated insistence and slow accumulation. Later she reworks Steve Reich's Cello Counterpoint into "Grand Street Counterpoint," named for the Lower East Side block she and Reich happen to share; he helped produce it. Sixty minutes of one reed talking to itself, and it never once lands as a stunt. Rebekah Heller 吹巴松管——那件常年只當管絃樂團傢俱的樂器——她的 Cantaloupe 首張，是替它一個人能做到什麼下的一份長註腳：靠多軌疊錄，一支巴松變成一支巴松合唱團。開場是 Julius Eastman《聖女貞德》的十管改編，從1981年一場現場轉譜而來，鋸齒般的執拗，一層層慢慢堆上去。另一首把 Reich《Cello Counterpoint》改成「Grand Street Counterpoint」，用她和 Reich 同住一棟樓的下東城街名命名，Reich 本人參與製作。六十分鐘一件簧片自言自語，卻一次也不像特技。
Evgeny Gromov (Євген Громов) — Valentin Silvestrov: Moments of Silvertones
- Genre類型
- Classical / Solo Piano / Modern
- Label廠牌
- Kyiv Dispatch
- Format介質
- Vinyl / Streaming
- Released發行
- 2026-07-27
Valentin Silvestrov fled Kyiv in early March 2022, leaving behind a studio he had worked in for half a century: ten square meters lined in emerald silk, more chapel than practice room, wedged into a Soviet apartment block on the Street of Enthusiasts. The pianist Evgeny Gromov stayed. Beginning that winter he played through Silvestrov's music every few weeks in the Khanenko Museum, its windows boarded after nearby strikes; some recitals ran unbroken, others were cut in two by air-raid sirens. This recording, made in single takes in January 2024, sets the composer's spiky 1960s avant-garde pieces beside the late Bagatelles he calls his "music of remembering." Heard in that order, the early works turn urgent and the late ones stop drifting. The cover photograph shows Silvestrov as a young man at his home piano. 西爾維斯特羅夫（Valentin Silvestrov，現年88歲）2022年3月逃離基輔，丟下那間他工作了半個世紀的工作室：十平方米，牆與天花板蒙著翠綠絲綢，像一頂擠在「熱情者街」蘇聯板樓裡的帳篷小教堂。留下來的鋼琴家 Evgeny Gromov，從那年冬天起，每隔幾週在被鄰近炮擊後釘上木板的漢能科博物館彈一場——有的完整，有的被空襲警報切成兩三段。這份錄音2024年1月一次成型（single takes），把作曲家六〇年代尖銳的先鋒作品與晚期他稱作「回憶的音樂」的 Bagatelles 並置。照這順序聽，早期忽然變得急迫，晚期不再飄忽。封面是青年時的他，坐在家中鋼琴前。
Sheep, Dog & Wolf — Ceiling Waves
- Genre類型
- Art Pop / Chamber Pop / Indie Folk
- Label廠牌
- Nacre Recordings
- Format介質
- Streaming / Hi-Res
- Released發行
- 2026-08-07
Sheep, Dog & Wolf is Daniel McBride of Auckland, tagged a young Sufjan Stevens as a teenager and spending the years since earning and complicating the comparison. Ceiling Waves, his first record in roughly five years, is a grief album that declines to let grief settle into one shape: dense, overwritten harmony and near-frantic rhythms keep colliding with passages of bare tenderness, so a lament can turn giddy without warning. He writes, plays, records and produces nearly all of it himself; on "Swimming Song," Indira Force's harp threads through the wreckage. Forty-nine minutes, and it never once tidies the feeling into something you could summarize. 奧克蘭的 Daniel McBride 一個人把整張包辦：寫、奏、錄、製作（James Goldsmith 混音、Mike Gibson 母帶）。這是他的第三張，隔了約五年的一張悼亡專輯——少年出道時被《衛報》叫作「年輕的 Sufjan Stevens」，2013年還與 Lorde 同屆入圍 Taite 音樂獎。最動人的地方，是它不肯把悲傷收成單一種情緒：密而繁的和聲、近乎失控的節奏，一次次撞上赤裸的溫柔，一段哀歌會忽然變得暈眩。「Swimming Song」裡，Indira Force 的竪琴穿過那片殘骸。四十九分鐘，不修邊幅，卻誠實得逼人。
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