Daily Drops · Vol.169每日唱片 · Vol.169
Wednesday, 18 November 2022. CD 塞在書末的口袋裡，實體版是一本書
ONJQ - 大友良英ニュージャズクインテット — Otomo Yoshihide's New Jazz Quintet China Tour 2025
- Genre類型
- Free Jazz · Live Recording · Avant-Jazz
- Label廠牌
- Little Stone Records
- Format介質
- Streaming
- Released發行
- 2026-09-18
The opening track is called "The sky was so beautiful…Wed.18th Nov 2022 〜 Blue Kite," and the date is doing real work: a specific Wednesday, kept in the title the way you might keep a ticket stub. The quintet has existed since 1998 and only got to China last February, six cities. What survived is four performances from the back half of that run — Guangzhou, Shenzhen twice, Chengdu — while Shanghai, Beijing and Xi'an went unrecorded. Nakamura Shigeki engineered, mixed and mastered all of it by himself, which you can hear in how dry the room sounds; the audience barely registers. For the first three minutes of the opener 類家心平's trumpet holds long tones and waits for 芳垣安洋's drums to commit, and when they do the piece takes fifteen minutes and forty-one seconds to come apart. The label's liner note says plainly that it has become difficult for Japanese musicians to travel to China. Whatever else this is, it is a document. 這支五重奏 1998 年成軍，去年二月底才第一次把整隊拉進中國，六個城市。碟裡只有四首，廣州 OMNI SPACE 一首、深圳 B10 LIVE 兩首、成都 NUSPACE 一首；上海、北京、西安那三場沒有收進來。廠牌頁的 liner note 講得很白：日本音樂家現在要去中國已經很困難。錄音、混音、母帶都是中村茂樹一個人做的，聽起來也像——空間很乾，觀眾的聲音幾乎沒進去。開場那首十五分四十一秒，類家心平的小號前三分鐘只吹長音，等芳垣安洋的鼓先動起來才開始拆。曲名把日期直接寫了進去：〈The sky was so beautiful…Wed.18th Nov 2022 〜 Blue Kite〉。
Katherine Young — BIOMES
- Genre類型
- Contemporary Classical · Composed-Improvised · Chamber
- Label廠牌
- Chaikin Records
- Format介質
- CD / Streaming
- Released發行
- 2026-09-18
The physical edition is a chapbook designed by Sonnenzimmer, with scanned collage prints by the Chicago artist Jordan Martins and the disc tucked into a pocket at the back. "BIOMES 8.1," made with Olivia Block and Tim Daisy, was committed to actual tape and then played back at varying speeds, which produces the slow lichen-like self-similarity Young seems to be after. "BIOMES 6.0" is notated, written for Yarn/Wire in five movements; one of them, Oyster Reef, came out of a residency at Pioneer Works in Red Hook and takes its shape from New York's shoreline restoration project. It premiered in Atlanta, several hundred miles from any oyster in question. 實體版是一本 chapbook，設計組合 Sonnenzimmer 做的，裡面夾著 Jordan Martins 的掃描拼貼版畫，CD 塞在書末的口袋裡。〈BIOMES 8.1〉跟 Olivia Block、Tim Daisy 錄在實體磁帶上，靠不同回放速率去長出地衣那樣的自我相似；〈BIOMES 6.0〉是寫給 Yarn/Wire 的五段式記譜作品，其中一段叫 Oyster Reef，取材自紐約的牡蠣礁海岸修復工程，寫於布魯克林 Red Hook 的 Pioneer Works 排練期間，首演卻在亞特蘭大。
The Drin — I Lost My Way For Centuries
- Genre類型
- Post-Punk · Dub · Psych Rock
- Label廠牌
- Feel It Records
- Format介質
- Vinyl (2xLP) / CD / Streaming / Hi-Res
- Released發行
- 2026-09-18
Twenty-three songs, seventy-four minutes, a double LP recorded and mixed by the band in a Cincinnati attic. The instrument list runs bass, drums, keys, guitars, reeds, and a bouzouki, and the saxophone threads the whole thing, pushed far back in dub delay until it behaves like weather rather than like a horn. At this length some of the middle stretch plays as offcuts. The counterargument is that the offcuts are what make it feel like a place rather than a track list. 二十三首、七十四分鐘的雙黑膠，全部在辛辛那提一間閣樓裡自錄自混。編製表除了貝斯鼓鍵盤吉他，還列了 reeds 跟一把布祖基琴，薩克斯風從頭串到尾，dub 那套延遲把它推得很遠。設計 Thomas Wagster，照片 Emma Cardosi。這個長度有它的代價——中段幾首確實像排練的餘料，但七十四分鐘聽下來是連著的一團霧，不是十二首歌加十一首填充。
Kristin Hersh — Sugar on Blackstone
- Genre類型
- Alt-Rock · Singer-Songwriter
- Label廠牌
- Fire Records
- Format介質
- Vinyl / CD / Streaming / Hi-Res
- Released發行
- 2026-09-18
Eleven songs with a two-person band: Rob Ahlers of 50FOOTWAVE on drums, Pete Harvey of Throwing Muses on cello. Blackstone Boulevard and Hope Street are both real roads in Providence, and the track list keeps that habit of naming actual objects — a '72 Stingray, a dark-eyed junco. Three years on from Clear Pond Road, and the cello does most of the work a second guitar would have done. 十一首，伴奏只有兩個人：50FOOTWAVE 的鼓手 Rob Ahlers，跟 Throwing Muses 的大提琴手 Pete Harvey。專輯名不是比喻，Blackstone Boulevard 跟 Hope Street 都是普羅維登斯真實存在的路。曲目也一樣實在：〈'72 Stingray〉是一輛車，〈Dark Eyed Junco〉是一種鳥。距離上一張個人專輯《Clear Pond Road》三年。
Echo & The Bunnymen — Apples For Isaac
- Genre類型
- Post-Punk · Indie Rock
- Label廠牌
- BMG
- Format介質
- Vinyl / CD / Streaming
- Released發行
- 2026-09-18
The thirteenth studio album, eleven songs, twelve years after Meteorites. It arrived on the same Friday as Rhiannon Giddens, Actress and Son Lux, which is a crowded room for a band that has never much minded being the oldest one in it. 第十三張錄音室專輯，十一首，離上一張原創《Meteorites》十二年。發行日還撞上 Rhiannon Giddens、Actress、Son Lux，是今年秋天最擠的一個星期五。再聽兩遍再說。
Cellophonics — Wood on the Tracks
- Genre類型
- Contemporary Classical · Cello Quartet
- Label廠牌
- SOMM Recordings
- Format介質
- CD / Streaming
- Released發行
- 2026-09-18
Four cellos and nothing else: Christopher Allan, Adrian Bradbury, Ian Burdge, Ben Rogerson. Half the programme consists of commissions they raised themselves, premiere recordings made with the composers in the room; the other half is salvage, including York Bowen's Suite for Four Cellos and pieces by Marie Dare and William Alwyn. One of the commissioned composers is Guy Barker, who spends most of his working life as a jazz trumpeter. Four instruments in the same register will turn to mud if you let them, and the second movement of the Bowen is where they most clearly refuse to — four lines, four separate errands. 四把大提琴，沒有別的樂器：Christopher Allan、Adrian Bradbury、Ian Burdge、Ben Rogerson。一半曲目是他們自己攢出來的委約首錄，錄音的時候作曲者本人都在場；另一半在打撈已經從目錄裡掉出去的名字，York Bowen 的 Suite for Four Cellos、Marie Dare、William Alwyn。寫委約那批人裡有 Guy Barker，他的本行是爵士小號手，這回以作曲者的身份進了大提琴四重奏的曲目表。四把同音域的琴疊在一起，低音域很容易糊，他們把聲部拉得很開，York Bowen 那套的第二樂章聽得出四條線各走各的。
毛利桂（Katsura Mouri） — Silent Platter
- Genre類型
- Turntablism · Electroacoustic · Ambient
- Label廠牌
- 自主發行
- Format介質
- Streaming
- Released發行
- 2026-09-23
One track, thirty-nine minutes and fifty-seven seconds, with nothing on the platter. Every sound comes from the portable turntable itself: the motor, the hum, the vibration and contact noise the cartridge picks up when there is no groove to read. Mouri works out of Kyoto and spent years on a pair of Technics SL-1200s before moving to portable decks and adding light as a second variable. Taku Unami mastered it. Around the twenty-minute mark the motor's pulse starts to stretch, and that stretching is the closest the piece comes to an event. 一條單軌，三十九分五十七秒，唱盤上什麼唱片都沒放。聲源全部來自那臺便攜式唱機本身：馬達運轉聲、哼鳴、唱頭拾到的振動跟接觸音。她以京都為據點，早年玩的是 Technics SL-1200，近年換成便攜機，又把光引進來跟噪音聯動。母帶宇波拓，封面也是她自己做的。二十分鐘之後馬達的節拍開始被拉長，那是全碟最接近「有事情發生」的一段。
臥軌的火車 — 音樂也要再重來
- Genre類型
- Chinese Indie Rock · Slowcore
- Label廠牌
- 自主發行
- Format介質
- Streaming
- Released發行
- 2026-09-13
A catch-up from 13 September. The band is down to three — Shen Zhi, Pz, Wu Yujie — and Shen Zhi recorded it himself, half at a studio called the room and half in Pz's apartment. Eleven titles, almost all of them household objects and places: a wooden boat, a blue eraser, half past four in the practice room, sheltering from rain at the market. "Hollywood" is split into two parts with three songs between them. Four years since the last studio record. 補記，9/13 上的。現在剩三個人：沈幟、Pz、鄔雨傑。樂團自述這批曲子 2025 年在排練室成形的時候更像一些短動機，年底才請白天客跟 tga 一起排出現場版。錄音沈幟自己來，一半在 the room 錄音室，一半在 Pz 家；母帶交給李平。十一首曲名是一串日常的物件跟地名——〈烏篷船〉〈藍色橡皮〉〈四點半練習中〉〈在菜場,躲雨〉〈前美村〉，收尾那首叫〈米飯 (after a meal)〉。〈好萊塢〉拆成 I、II 兩段，中間隔了三首曲子。距上一張錄音室專輯《一些次要的時刻》四年。
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