Daily Drops · Vol.172每日唱片 · Vol.172
Fourteen tracks, and not one of them reaches three and a half minutes. 同一條 spaceway 走了兩次，第二次標了 frfr
megiapa — Intentions
- Genre類型
- Experimental Soul · Avant R&B
- Label廠牌
- International Anthem
- Format介質
- Vinyl / Streaming
- Released發行
- 2026-09-25
Fourteen tracks, thirty-seven minutes and six seconds, and not one of them reaches three and a half. The shortest is the closer, "rising_outro," at 1:32. A spaceway gets visited twice: fourth position is "( ( on the spaceway ) )" at 1:54, eighth is "on the spaceway (frfr)" at 2:59, which is either a correction or a second attempt. The record itself was made across three countries — mixed in February at International Anthem Studios in Chicago by Dave Vettraino, lacquers cut by Daniel K at SST, pressed at Pallas in Germany — by an Ohio-born, Los Angeles-based linguist, producer and visual artist, and part-funded by a grant from Chicago's Department of Cultural Affairs and Special Events. Mekala Session, musical director of the Pan Afrikan People's Arkestra, plays drums. For a first album the paperwork is doing almost as much travelling as the music. 一張首專分在三個國家做完：二〇二六年二月在芝加哥的 International Anthem Studios 混音，工程師 Dave Vettraino；母帶刻盤由 Daniel K 在 SST 完成；壓片在德國 Pallas。而本人是俄亥俄出生、洛杉磯生活的語言學者兼製作人兼視覺藝術家，唱片卻拿到芝加哥市文化事務局的補助——一張首專的行政地圖畫到這個程度，算少見。十四首共三十七分零六秒，沒有一首滿三分半；最短的收尾〈rising_outro〉一分三十二。第四首叫〈( ( on the spaceway ) )〉，第八首又回來一次，叫〈on the spaceway (frfr)〉。打鼓的是 Pan Afrikan People's Arkestra 的音樂總監 Mekala Session。
Hermanos Gutiérrez — Los Ojos Del Cóndor
- Genre類型
- Instrumental Folk · Latin · Desert Blues
- Label廠牌
- Easy Eye Sound（Concord Label Group）；目錄號 待確認
- Format介質
- CD / Streaming
- Released發行
- 2026-09-25
Ten tracks, thirty-one minutes and forty seconds, and the two shortest are the same length to the second: "Yanantin" at 2:27 and the closer "Dios De La Paz" at 2:27. The longest, "Tren Macho," gets to 3:46. The opener "Canto Andino" starts on an acoustic guitar figure and slides into an organ line. Seventh album in a decade or so, third made with Dan Auerbach at Easy Eye Sound in Nashville; the Swiss-Ecuadorian brothers draw this time on Argentinean milonga and Peruvian-Colombian cumbia, which pulls the record sideways out of the western-soundtrack register they had settled into. 出道十幾年的第七張，也是與 Dan Auerbach 合作的第三張，在納什維爾的 Easy Eye Sound 錄。瑞士—厄瓜多爾兄弟檔，素材一邊來自母親的厄瓜多爾，一邊來自曾祖母的秘魯；這次明寫進去的是阿根廷 milonga 與秘魯—哥倫比亞 cumbia，不再只是他們慣用的西部片色調。十首共三十一分四十，最長的〈Tren Macho〉三分四十六，最短的〈Yanantin〉與收尾〈Dios De La Paz〉都是兩分二十七——秒數一樣。開場〈Canto Andino〉先給一段原聲吉他，再滑進風琴。
SUAHN — Distort Everything Forever
- Genre類型
- Experimental Electronic · Techno · Ambient
- Label廠牌
- 自主發行（Apple ℗ 行：2026 Michael York）；目錄號 無
- Format介質
- Streaming
- Released發行
- 2026-09-25
The record opens at fifty-nine seconds and closes at six minutes, and the two are called "Reverie" and "Thaw," which is a fairly complete description of the shape. Everything between runs four to five minutes. SUAHN is Mike York, formerly the guitarist in the post-hardcore band Pianos Become The Teeth, working alone in Baltimore; he started in 2020, and an accident in 2023 put him briefly in a wheelchair, watching the world from home, which is when the thing got finished. He wanted something that felt like being trapped inside his own brain. Bandcamp Daily's review traces the parts to dubstep and trance pomp, Baltimore club rhythm, and the hauntology of a committed Mark Fisher reader. Whether those three settle or keep arguing, I have not decided. SUAHN 是 Mike York 的個人項目，他此前是後硬核樂團 Pianos Become The Teeth 的吉他手，人在巴爾的摩。二〇二〇年開工，二〇二三年一次意外讓他有一段時間只能坐在輪椅上從家裡往外看，他說想做出「困在自己腦子裡」的感覺。十首裡開場〈Reverie〉只有五十九秒，收尾〈Thaw〉六分整，是全碟最長；中間五首都落在四到五分鐘。Bandcamp Daily 的評論把它的來路點成 dubstep 與 trance 的排場、巴爾的摩 club 的節奏，再加上一個讀 Mark Fisher 的人的 hauntology。這三樣東西擺在一起要多久才服貼，我還沒聽出結論，再聽兩遍再說。
Nick Pritchard & Ian Tindale — Finzi: The Dance Continued
- Genre類型
- Classical · Art Song
- Label廠牌
- Signum Records
- Format介質
- CD / Streaming / Hi-Res
- Released發行
- 2026-09-25
Thirty tracks arranged as three complete Hardy cycles with five songs wedged between them that belong to none: Op. 19a runs seven, Op. 14 runs ten, Op. 13b runs seven, and tracks eight through twelve answer to nothing — the label says those five are unpublished manuscripts out of the Bodleian. One of the orphans, "The Terrible Robber Men," lasts fifty-two seconds. The album title comes from inside Op. 14 — its tenth song, track twenty-two, 3:59. Recorded at New College Oxford. A tenor and a piano, nothing else. 專輯名不是自創的，取自第二十二首曲名——Op.14《A Young Man's Exhortation》的第十首〈The Dance Continued〉，三分五十九。三十軌的排法是三套完整的 Hardy 歌集夾著五首散曲：Op.19a 七首、Op.14 十首、Op.13b 七首，中間第八到十二首不屬於任何一套；廠牌自述那五首是 Bodleian 圖書館裡從未出版過的手稿。錄音在牛津 New College。全碟只有一把男高音和一臺鋼琴。最短的〈The Terrible Robber Men〉五十二秒。
松木美定 — The Night Atelier
- Genre類型
- Singer-Songwriter · Jazz-influenced Pop · Home Recording
- Label廠牌
- RED（Sony Music Entertainment Japan 旗下，Apple ℗ 行）／The Orchard Japan 發行；目錄號 待確認
- Format介質
- CD / Streaming
- Released發行
- 2026-09-23
He taught himself piano and composition at twenty by copying Horace Silver and writing hard bop for his own amusement; he was born in Shizuoka in 1993. The second album, nine tracks, twenty-eight minutes and sixteen seconds, was mixed entirely by him and made almost wholly indoors, and he drew the sleeve and the booklet illustrations as well; the back of the booklet prints the score of the first song. Track eight, "Late Show (Writer's Cut)," is a song he once wrote for the singer Saki, now taken back with its words and its sound rebuilt. The previous album was November 2023. The CD is sold only through Tower Records and Amazon. 松木美定（Bitei Matsuki）的第二張，廠牌稿裡那句話寫得很清楚：全曲自己混音，幾乎所有製作都在家裡完成。連 CD 封套與內頁插畫都是他自己畫的，內頁背面印了第一首〈魔術師たちの夜〉的樂譜。一九九三年靜岡出生，二十歲才開始自學鋼琴與作曲，研究並模仿 Horace Silver，業餘寫 hard bop。九首共二十八分十六。第八首〈Late Show (Writer's Cut)〉是自我翻唱——原曲是他寫給歌手早希的，這次把詞和聲音重做了一遍。上一張《THE MAGICAL TOUCH》二〇二三年十一月，隔了將近三年。CD 只在 Tower Records 與 Amazon 限定發售。
Kateřina Kněžíková, Jakub Hrůša & Czech Philharmonic — Smetana: Libuše, JB1:102
- Genre類型
- Classical · Opera
- Label廠牌
- Supraphon
- Format介質
- CD / Streaming / Hi-Res
- Released發行
- 2026-09-18
Three acts, thirty-one tracks, two hours forty-two and twenty-six seconds if you add the durations up. Act II alone takes thirteen of those tracks and sixty-three minutes, longer than Act I with its eight-and-a-half-minute overture (forty-nine) and longer than Act III (fifty). The weight lands at the very end: "Libuše's Prophecy: O Gods Eternal," fourteen minutes fifteen, nearly six minutes more than the overture. Catalogue number SU 4378-2/0/5, Supraphon's way of numbering a three-disc box; the copyright line credits the Czech Philharmonic rather than the label that sells it. 三幕三十一軌，逐軌相加是兩小時四十二分二十六秒。第二幕一幕就佔十三軌、六十三分十八，比含了八分三十序曲的第一幕（四十九分）和第三幕（五十分零八）都長。全劇最長的一軌是收尾的〈Libuše's Prophecy: O Gods Eternal〉，十四分十五，比序曲長了將近六分鐘：整部歌劇的重量壓在最後一首上。目錄號寫成 SU 4378-2/0/5，那組斜線是 Supraphon 給 3CD 盒裝的編法；℗ 行署的不是廠牌，是 Czech Philharmonic 自己。
Curbside Lambsear — Put Rings On All My Fingers To Weigh Down My Hands
- Genre類型
- Experimental Folk · Post-Punk · Dub
- Label廠牌
- Scenic Route Records（Apple ℗ 行：2026 Scenic Route Records）；目錄號 待確認
- Format介質
- Vinyl / Streaming
- Released發行
- 2026-09-11
Five tracks, twenty-nine minutes thirty-nine, and every one of them runs past five minutes. "Avril" is the shortest at 5:18 and "Jjochstubn" the longest at 6:37, which puts eighty seconds between the extremes of an entire EP. A debut that declines, from the first bar, to get anywhere quickly. Annabelle Mödlinger and Magdalena McLean, out of London, describe the music as growing from pop, folk and improvisation with drone, dub and post-punk worked in, and accidents left where they fell. It turned up on The Quietus's September chart. 倫敦二人組 Annabelle Mödlinger 與 Magdalena McLean 的首張 EP，五首共二十九分三十九——每一首都超過五分鐘。最短的〈Avril〉五分十八，最長的〈Jjochstubn〉六分三十七，五首之間的長度差不到八十秒。一張 EP 把每首曲子都做到比一般專輯的單曲長，等於一開始就放棄了副歌回來得夠快這件事。二人自述音樂長自流行、民謠與即興，摻進 drone、dub 與 post-punk。九月上了 The Quietus 的 Music of the Month。
nikiie — NONSENSE
- Genre類型
- Singer-Songwriter · Alt-Pop
- Label廠牌
- 自主發行（Apple ℗ 行：2026 nikiie）；目錄號 待確認
- Format介質
- Streaming / Hi-Res
- Released發行
- 2026-09-02
Six songs, seventeen minutes fifty-nine, and every one of them lands between 2:43 and 3:17 — under thirty-five seconds separating the longest from the shortest. Half had already gone out as singles: "参鶏湯" in January, "全意中最前線" in February, "NAM" in May. She debuted in 2010 and has recorded for Nippon Columbia; the copyright line on this one has shrunk to a single word, nikiie. 六首共十七分五十九，每首都落在兩分四十三到三分十七之間，最長與最短差不到三十五秒。六首裡有三首早就當單曲放過：〈參鶏湯〉一月、〈全意中最前線〉二月、〈NAM〉五月。第三首曲名就叫〈參鶏湯〉。二〇一〇年以單曲出道、曾在日本哥倫比亞出片的人，這張的 ℗ 行只剩「nikiie」一個字。
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