Daily Drops · Vol.157每日唱片 · Vol.157

She cuts her instruments from the garden and runs them through a delay pedal. 一張碟裡兩次 All Blues，同一晚，同一個三重奏

Tuesday, September 08, 2026 2026年9月08日星期二

01 Pick of the Day 今日精選

Thorn Wych — Aesthesis

Genre類型: Experimental Folk · Drone
Label廠牌: Tompkins Square
Format介質: Vinyl · Streaming
Released發行: 2026-09-04

She lives in Bacup, in Lancashire, and she makes her instruments out of tree branches: bowed strings, flutes, percussion, all of it fed through a chain of loopers, pitch-benders and delay pedals. The record was made at home, alone, by improvising at length and then cutting the results apart, pasting them back together, and layering other instruments over the seams. She sings in no language that exists. The Wire got there first and got it right, calling this a set of defamiliarised sounds — strings unlike any we have heard, a voice we cannot follow. The label's list of sources is unusually candid for a debut: the Gnostic Secret Book of John, the 1940 Thief of Bagdad, Lata Mangeshkar's Meera Bhajans. Ordinarily such a list would be a warning. Here the three things really do sound as though they have been left in a room together for a long time, in the mud, conversing with insects. Ten tracks, and the titles do half the work: "The Blue Rose of Forgetfulness," "May the Immortal Amma keep you seated," "There is Nothing in the Well." 她住在蘭開夏的 Bacup。拉的弦、吹的笛、敲的打擊，全部是自己拿樹枝削出來的，做好之後再串進一整排 looper、pitch-bending 與 delay 踏板。首張專輯，全在家自錄自混，做法是先錄一段長的即興，事後才剪開、拼貼、往上疊別的樂器。唱的不是任何一種現存語言。第二軌叫〈Out of the Eater Came Something to Eat〉，取自參孫那個謎語：獅子的屍體裡長出蜂窩，吃的東西裡出來了可吃的。廠牌文案老老實實列了三個靈感來源——諾斯替文獻《約翰密傳》、1940 年的電影《The Thief of Bagdad》、Lata Mangeshkar 唱的《Meera Bhajans》，她把整張作品獻給 Divine Mother Asherah。這種來源清單通常讓人警惕，但這張碟聽起來確實像是那三樣東西在同一個房間裡待久了的結果。《The Wire》寫得比我準確：這是我們認識 Thorn Wych 的方式。

Chat Pile — Who Loves The Sun

Genre類型: Noise Rock · Sludge
Label廠牌: The Flenser
Format介質: Vinyl · Streaming
Released發行: 2026-09-04

The news on the third Chat Pile album is that they have written hooks, which sounds like the setup for a disappointment and isn't. "Same Rules" moves on a trip-hop pulse, of all things, and the melodic vocabulary elsewhere is drawn openly from pre-2000 indie rock, alt-rock and new wave — the stuff a band from Oklahoma City would have had on in the car. None of it makes the record lighter. God's Country took the measure of one city, Cool World took the measure of the planet, and this one narrows to a subject with less scenery in it: the general willingness not to look. The cover is a photograph of Oklahoma City in which the mostly empty Devon Tower stands over the skyline while a burnt-out house occupies the foreground, and the band are right that it says everything the songs say. Ray B. is still audibly furious. "Christabel '26" is not a song anyone will play twice by accident. 封面是一張俄克拉荷馬城的實拍照：空了大半的玻璃塔 Devon Tower 懸在天際線上，前景一棟燒焦的民宅。廠牌說這張照片就是整張碟的寓言，難得不是自吹。第三張專輯，前兩張的射程一張比一張遠——《God's Country》寫這座城，《Cool World》寫整個星球，這張把焦點收回到「大家都懶得管」這件事上。真正的變化在寫法：他們這次帶著鉤子寫歌，明說取材九〇年代的 indie rock 與 new wave。〈Same Rules〉是一段 trip-hop 的脈動，放在這支樂團的曲目裡幾乎算溫柔；〈Christabel '26〉則完全不是。四人編制六年，聲音沒有變乾淨，只是變得記得住。

Klara Lewis — Opening

Genre類型: Experimental Electronic · Musique Concrète
Label廠牌: Editions Mego
Format介質: Vinyl · Streaming
Released發行: 2026-09-04

Two of these thirteen tracks, "Drip" and "Feel," were written for a film first — Mika Taanila's Failed Emptiness, 2024 — and one of the pleasures of the record is that you cannot tell which two. The raw material is a ukulele and a piano, dismantled past the point of recognition, plus damaged field recordings sliced into rhythmic figures that arrive without warning. Editions Mego describe the album as veiled melodies and clandestine bangers, a phrase that is doing more work than label copy usually does. What Lewis has always been good at is keeping a shape song-like while removing almost everything that made it a song; here the pieces tend to enter hostile and end tender, or the reverse, and the reversal is never announced. The sleeve was made with Nik Colk Void, from an image by the circus company Circa. 十三軌，曲名瑞典語英語混著來。素材說穿了只有兩樣原聲樂器：ukulele 與鋼琴，但被拆解重組到聽不出原形，再混進一批被切成節奏圖形的損壞田野錄音。廠牌自己下的形容是「被遮蔽的旋律與暗藏的舞曲」，這句話難得沒有誇大：曲子常常從一個完全不友善的入口進去，走著走著落在意外的溫柔上，也可能反過來。〈Drip〉與〈Feel〉原本是為 Mika Taanila 2024 年的電影《Failed Emptiness》寫的，被收進來之後聽不出電影的痕跡。封面與設計由她與 Nik Colk Void 合作，圖像取自馬戲團體 Circa 的作品《En Masse》。

Told Slant — What's Up

Genre類型: Indie Rock · Slowcore
Label廠牌: Mtn Laurel Recording Co.
Format介質: Vinyl · Streaming
Released發行: 2026-09-04

One month, one temporary room upstate, and an eight-track reel-to-reel: Felix Walworth's first album in six years is also the first Told Slant record made almost entirely to tape. That decision is audible in the obvious ways and one less obvious one, which is that the drums sit further forward than they would on a digital record. The kit was a gift from Walworth's father, who played it in The Coachmen, Thurston Moore's band in the late seventies. "Manhattan" is where that inheritance surfaces without being explained. "Rain of God" follows the title track and runs eight minutes toward something like trance; "I am a Singer," which Walworth describes as an atonal dance number about the horror of being an artist, is funnier as a description than as a piece of music, though it survives the comparison. Hannah Pruzinsky, Jonnie Baker and Emily Sprague all appear. The band took its name from Dickinson fourteen years ago and has finally made a record that earns it. Felix Walworth 出道十四年的第四張，也是 2020 年以來第一張。在紐約州北部自己搭的臨時錄音室裡錄了一個月，用八軌盤帶機，是 Told Slant 第一張基本全類比的唱片。碟上那套鼓是父親給的；父親當年用同一套鼓，在 Thurston Moore 七〇年代末的樂團 The Coachmen 裡打過。這條家族線一路延伸到〈Manhattan〉那種失落感裡去。〈Rain of God〉接在同名曲之後，八分鐘的恍惚；〈I am a Singer〉被他自己稱作「關於當藝術家之恐怖的無調性舞曲」，這說法比曲子本身好笑。團名出自狄金生那句 tell all the truth but tell it slant，用了十四年才真的做到。

Carlo Vistoli, Giulia Semenzato, Le Concert d'Astrée & Emmanuelle Haïm — Handel's Italians: Italian Castrati in the London Oratorios

Genre類型: Baroque · Countertenor Recital
Label廠牌: Harmonia Mundi
Format介質: CD · Hi-Res · Streaming
Released發行: 2026-09-04

In 1741 Handel took David's music in Saul, transposed it, and had the text retranslated so that Giovanni Battista Andreoni could sing it. That version is on this disc, and it explains the premise better than the title does. Handel's turn to English oratorio is usually told as a break with the Italian opera world; the programme here is organised by singer rather than by work, and what it shows is a composer who kept rewriting around whichever Italians were in the building. Senesino gets Esther and Deborah, Guadagni gets Theodora, the 1750 Messiah and the 1751 Belshazzar, Carestini gets Athalia. Vistoli is at his best in the Theodora material, where the line has room to slow down, and the duets with Semenzato are the two things on the record I would return to first. Haïm's band plays with less lacquer than usual, to the benefit of everyone. 這張碟不是按作品編的，是按「誰唱過」編的。Senesino 名下有《Esther》與《Deborah》，Guadagni 名下有《Theodora》、1750 年版的《Messiah》、1751 年版的《Belshazzar》，Carestini 那邊是《Athalia》。亨德爾轉做英語神劇之後並沒有把身邊那批意大利歌手打發掉，反而繼續替他們改寫聲部——1741 年他為 Giovanni Battista Andreoni 把《Saul》裡 David 的段落移調並改了譯詞，這張碟收的就是那個版本。Vistoli 的假聲男高音在《Theodora》那幾段最有說服力，跟 Semenzato 的二重唱則是全碟最好的兩處。一張以檔案考據為骨的獨唱碟，居然沒有博物館氣味。

Doric String Quartet — Beethoven: String Quartets, Vol. 3

Genre類型: String Quartet · Classical
Label廠牌: Chandos
Format介質: CD · Hi-Res · Streaming
Released發行: 2026-09-04

Nos. 3, 9, 10, 15 and 16 across two discs, continuing a cycle that has refused since 2023 to proceed in order. The first disc runs Op. 18 No. 3 into the two middle-period quartets; the second gives up on shuffling and puts the last two side by side, Op. 132 and Op. 135, which is where the interest lies. The record ends on the finale of Op. 135, the movement Beethoven headed himself: Der schwer gefasste Entschluss, the difficult decision. Thirty years compressed onto two discs, arranged so that you hear the handwriting change. 全集第三卷，兩張 CD，收第 3、9、10、15、16 號。這套從 2023 年開始，每一卷都刻意把早、中、晚期混著編，不按編號走。本卷的排法比前兩卷更露骨：第一張是 Op. 18 No. 3 加上兩首中期（Op. 59 No. 3、Op. 74），第二張直接把最晚的兩首並排——Op. 132 與 Op. 135。前者的第三樂章就是他大病初癒後寫的謝恩歌，後者的末樂章標題是貝多芬自己寫在譜上的一句話：難下的決心。一卷唱片把三十年壓成兩張碟，聽下來像看同一個人的字跡怎麼變。

市川空（Sora Ichikawa） — Sora Ichikawa Concept Band

Genre類型: Live Jazz · Piano Trio
Label廠牌: Live
Format介質: CD · Streaming
Released發行: 2026-09-02

他生涯第一張現場盤，錄於六本木那家開了幾十年的爵士俱樂部 ALFIE，屬於該店自營錄音系列。編制是高橋將的低音提琴與塚田陽太的鼓。〈All Blues〉收了兩次——第 1 軌一次，第 7 軌又一次，同一晚，同一個三重奏。這種安排通常會被剪掉一個，這裡兩個都留著，等於把「同一首曲子今晚可以有兩種樣子」直接寫進曲目單。他唯一的原創〈Reminiscence Of The River Of Cranes〉排在第 8 軌，而且是 CD 限定，串流上聽不到，只有七首標準曲。他 2026 年已經出過兩張錄音室作，這是同年第三發，產量高得有點可疑，但現場這張最不像交差。

市川空（Sora Ichikawa） — Sora Ichikawa Concept Band YouTube ↗

大江千里（Senri Oe） — HOMEWORK

Genre類型: Jazz · Electronic
Label廠牌: PND Records
Format介質: CD · Streaming
Released發行: 2026-09-04

八〇年代的 J-Pop 歌手，四十七歲那年跑去紐約 The New School 從頭念爵士鋼琴，這是他轉行之後第九張原創專輯。十六軌，一半是自宅做的電子音軌，一半是鋼琴三重奏的原聲爵士，兩種質地交替排下去。〈Amber Lab〉與〈Amber Lab 2〉相鄰擺在第 8、9 軌，是全碟唯一一組同素材雙版本。