Daily Drops · Vol.139每日唱片 · Vol.139
He learned Ableton at a charity for people just out of prison, then stayed on to teach it. 坂本慎太郎替他寫了一首詞，Bid 寫了另一首，兩人頭一回擠進同一張碟
Cornelius — Refractions
- Genre類型
- Art Pop · Experimental
- Label廠牌
- Warner Music Japan
- Format介質
- CD / Streaming
- Released發行
- 2026-08-19
His ninth, ten tracks, and the guest list reads like a diagram of everywhere he has ever been: Arto Lindsay, Bid of the Monochrome Set, Sean Ono Lennon, Shintaro Sakamoto. What matters is not that they turn up but what they were given to do. Sakamoto wrote the words to "Mazaranai," Oyamada the music; "You Make Me Cyborg" is credited to Cornelius and Bid jointly, with Bid supplying the lyric. Those are two entirely separate bloodlines — Japanese psych-pop songwriting on one side, English post-punk on the other — and they have been asked to write in the same house on the same afternoon. Oyamada has said the operating principle this time was outward rather than inward, treating collaboration as a method instead of a favour, and the sequencing bears him out: several titles arrive doubled in Japanese and English, "Yumenemi," "Dissolving Line," as though each song were checking its own translation. He produced it himself. Tohru Takayama mixed and mastered. Whether the outward turn holds up over a month of listening I genuinely don't know yet. 小山田圭吾說這次的做法是往外開，不往裡挖——把與別人的互動當成方法本身。名單看起來確實像在開門：Arto Lindsay、Bid、Sean Ono Lennon、坂本慎太郎，四個人頭一回同時出現在一張 Cornelius 專輯上。有意思的是分工。〈まざらない〉的曲是小山田寫的，詞是坂本慎太郎；〈You Make Me Cyborg〉的曲名直接署成「Cornelius · Bid」，詞由 Bid 寫。一個是日本七〇年代末以降那條迷幻歌謠的血脈，一個是 The Monochrome Set 那條英國後龐克的血脈，兩條線平常不太會碰面，在這裡各自寫了一首。全碟十曲，比例感很清楚：同名曲〈Refractions〉只有一分零七秒，擺在最前面當片頭；八分十三秒的〈Mirrors〉壓在最後。曲名日英並置——〈夢寢見 / Yumenemi〉、〈溶解線 / Dissolving Line〉——念起來像兩種語言互相校對。製作人是他自己，混音與母帶交給高山徹。
Duo Dorado — Spice of Italy
- Genre類型
- Early Music · Baroque
- Label廠牌
- Chandos
- Format介質
- CD / Hi-Res
- Released發行
- 2026-08-14
The album takes its name from a throwaway line by a seventeenth-century London critic to the effect that nothing in town tasted of anything unless it had been Italianised first — a remark about food, repurposed here as a remark about violin playing. Hazel Brooks and David Pollock have gathered the violin-and-continuo music of Nicola Matteis and his son, the father having arrived from Naples in the early 1670s to become the first Italian violinist to leave a real mark on England. John Evelyn wrote down his astonishment in 1674 and spelled the man's name his own way. Brooks, in the booklet, puts her finger on the awkward part: passed over at home for having emigrated, passed over in England for being foreign. The La Folia variations run eleven and a half minutes and are the centre of gravity; a piece called Ground After the Scotch Humour sits nearby, doing something stranger. Hazel Brooks 的巴洛克小提琴配 David Pollock 的大鍵琴，曲目是 Nicola Matteis 父子兩代的小提琴與通奏低音作品。父親約一六七〇年代初從那不勒斯抵達倫敦，是第一位在英格蘭真正產生影響的義大利小提琴家；日記作家 John Evelyn 一六七四年在日記裡記下過對他演奏的驚嘆。專輯名取自當時一位倫敦樂評人的原話，大意是城裡的東西若不帶點義大利味就寡淡。Brooks 在內頁裡點出這對父子的雙重尷尬：在故國因為移民被略過，在新家園又因為外國人身分被略過。收了一組 La Folia 變奏，十一分半，是全碟最長的一軌；另有一首曲名寫著 Ground After the Scotch Humour。這是兩人繼 Gottfried Finger 專輯之後的續作。
Rafał Blechacz, Dresdner Philharmonie & Kent Nagano — Mozart: Piano Concerto No. 24 / Beethoven: Piano Concerto No. 3 & 32 Variations
- Genre類型
- Classical · Piano Concerto
- Label廠牌
- Deutsche Grammophon
- Format介質
- Hi-Res / Streaming
- Released發行
- 2026-08-14
二〇〇五年蕭邦大賽他一個人把首獎連同波蘭舞曲、瑪祖卡、協奏曲、觀眾四個特別獎全拿走，之後將近二十年沒再錄協奏曲。這張是他回來的第一份。三首作品同一個調：莫札特 K.491、貝多芬 Op.37、貝多芬三十二段變奏 WoO 80，全部是 C 小調，全部錄於二〇二五年十月二十六日，德勒斯登文化宮，一天之內。這種安排很難不當成一句話來讀。目前只見下載與串流規格，未見實體。
鄒序 — 無端 Ends
- Genre類型
- Indie Pop · Lo-fi
- Label廠牌
- WiFi Music（放飛音樂）／Universal Music Taiwan 代理
- Format介質
- Streaming
- Released發行
- 2026-08-14
He set up a microphone in the studio, got a friend in, and the two of them clapped: that clap is the drum track on the title song, kept in one take, palms and all. It is the most physical thing on a record otherwise built out of soft edges — twelve songs, three years of work, a lyric on the title track drawn from Bai Juyi and Li Yu, which on a lo-fi bed could easily curdle and doesn't. The album is named after a caladium in the studio, a gift from his grandmother, stripped bare by caterpillars; he kept watering it and weeks later it came back thicker than before. The one instrumental, "河堤," was assembled on a laptop in the middle of a Nordic holiday when worrying about the album kept him awake. 專輯名來自工作室裡一株彩葉芋，奶奶送的。毛毛蟲把葉子啃到精光，他照常澆水，幾週後長得比原來更密。同名曲的詞取材自白居易〈長恨歌〉與李煜〈浪淘沙〉，這種來源放在 lo-fi 的底子上有點險，他處理得比想像中鬆。那首的節奏軌是他和朋友在工作室架起麥克風、直接拍手錄下來的，一次到位，聽得出手掌的厚度。全碟唯一的演奏曲〈河堤〉寫在北歐度假的半夜——他掛心進度失眠，用電腦拼出來的。十二首，前後做了三年。
Wild Gods — The Glorious Abysmal
- Genre類型
- Celtic Folk · Drone · Noise
- Label廠牌
- Wren Cathedral Records
- Format介質
- Streaming
- Released發行
- 2026-07-24
The demos were written at Vox Liminis, a charity across the road from the Barrowland that works with people leaving prison. Jamie Livingstone learned Ableton there and then stayed on to teach it, which is the kind of biography that usually gets flattened into a press line and in this case audibly shaped the record. The bass and sub-bass parts are divided and reassembled according to Georg Cantor's set-theoretical diagrams for cutting up a line segment, a scheme Livingstone and bassist Niall MacDonald had already built an installation around; you hear it as a low end that keeps subdividing underneath you rather than holding still. Everything above it points the other way — waulking songs from the Hebrides, the labour songs women sang while beating tweed, pulled from the Tobar an Dualchais archive, and on "Keening" the keening itself, sampled from the trauma therapist Madge Bray. Four days of rehearsal became two when the fiddler's diary changed, and the whole thing was made in five days at Dystopia Studios in Partick. Seven tracks. Nothing about it sounds rushed, which is either luck or the sort of preparation that doesn't need rehearsing. 這張碟的 demo 全部誕生在 Vox Liminis，格拉斯哥 Barrowland 對面一家服務刑滿出獄者的慈善機構。主創 Jamie Livingstone 在那裡學會 Ableton，學完留下來教別人用。技術上最特別的一層在低頻：貝斯與 sub-bass 的聲部按數學家康託爾切分線段的集合論圖式逐層劈開再拼合，這套做法源自他與貝斯手 Niall MacDonald 早前做的一件康託爾主題裝置。素材則往反方向走——赫布里底群島的捶呢勞動歌取自蘇格蘭檔案庫 Tobar an Dualchais，〈Keening〉一曲的哭喪聲直接採樣自創傷治療師 Madge Bray 本人。原定進棚前排練四天，小提琴手 Càit O'Neill 的檔期臨時縮成兩天，整張碟最後在 Partick 的 Dystopia Studios 五天內做完。七曲。這種製作條件通常會留下疤痕，這張沒有。
Josaleigh Pollett — If I Let It Quiet
- Genre類型
- Indie Folk · Electronic
- Label廠牌
- Audio Antihero / Lavender Vinyl
- Format介質
- Vinyl (Random Colour 45 RPM 2LP) / Streaming
- Released發行
- 2026-07-24
The double LP is pressed in random colours and each side is a different one, so nobody — including the label — knows which copy is going where until it is opened. That is a fair description of how it was made, too. Pollett sang in a vocal booth she built herself, after work in Salt Lake City, while her producer Jordan Watko, who had moved to Osaka in 2024, gave directions down a headphone line at the start of his own day. The songs were written across both cities between 2023 and 2025. She has said the difference from the last one is simply the number of people in the room, with Andrew Goldring bringing thicker instrumental layers along with the mix and master. Forty-five RPM, gatefold sleeve. 錄音的地理條件是這張碟的骨架：她在鹽湖城，製作人 Jordan Watko 二〇二四年搬去大阪。她下班後鑽進自製的人聲隔音箱唱，那頭剛起床，遠端連線在耳機裡給指令。曲子從二〇二三年寫到二〇二五年，兩地各寫一半。她自陳這次與前作最大的不同是把更多人拉進來，Andrew Goldring 除了混音母帶還帶進更厚的器樂層。實體是隨機配色的四十五轉雙黑膠，跨頁對開封套，每一面顏色隨機——買之前不知道會拿到哪一種。
The Solomon Gundy Band — Hancestry
- Genre類型
- Soul Jazz · Afro-Diasporic
- Label廠牌
- Dundus Records
- Format介質
- Vinyl / CD / Streaming
- Released發行
- 2026-07-31
Catalogue number DND001: the label and the band's first album started on the same day, which happens more often than anyone admits and is rarely stated so plainly. Every title carries a dedication — "Hancestry (for Zora Neale Hurston)," "Divine Days (for Leon Forrest)" with Courtney Pine, "Wadada (for Leo Smith)," "Drum Song for Chino" with Sultan Stevenson — and the mixing engineer, Ashley Slater of Loose Tubes, steps out from behind the desk to recite one of them, "Choose to Be (for James Baldwin)," aloud. Sean Corby, who leads, had put the trumpet down for years before this. Ten tracks; the vinyl carries its own catalogue number. 目錄號 DND001。廠牌與樂隊的首張專輯同時啟動，起點是領銜者 Sean Corby 離開音樂多年之後重新拿起小號。十首曲子逐首題獻：〈Hancestry (for Zora Neale Hurston)〉、〈Divine Days (for Leon Forrest)〉由 Courtney Pine 客串、〈Wadada (for Leo Smith)〉、〈Drum Song for Chino〉由 Sultan Stevenson 客串。混音是 Loose Tubes 的 Ashley Slater，他同時在〈Choose to Be (for James Baldwin)〉裡擔任朗誦——一個混音師走到麥克風前面來，這件事本身就把題獻的性質說清楚了。黑膠是獨立貨號。
越野快餐車 Wild Fast Food — 劣跡情人 Prove Us Wrong
- Genre類型
- Indie Rock
- Label廠牌
- Self-released
- Format介質
- Streaming
- Released發行
- 2026-07-25
Four songs, all of them cut live with the three of them playing at once. The producer, Chung Yi-an, stopped the take whenever the playing tightened up or got too technical to stay together, and sent the band off to sit with their eyes closed for a few minutes before going again. The four are sequenced as secrecy, suspicion, confession, farewell. Kevin Fu mixed and mastered. 臺北三人樂團，四首歌全部同步錄音。製作人是鐘奕安——厭世少年吉他手、DSPS 與海豚刑警貝斯手。他的規矩很簡單：演奏一變急促，或者太專注技術以致彼此不夠緊密，就喊停，讓三個人閉上眼睛坐幾分鐘再錄。四首歌按秘密、猜疑、坦白、告別排序，收在〈冷花 Faux Petals〉。混音與母帶是符家寶。
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