Daily Drops · Vol.174每日唱片 · Vol.174
A composer she met at a festival wrote it down into her lowest register. 她自稱次女高音，樂評一直盯著那個低音區
Beth Taylor & Hamish Brown — The Deeps Have Music
- Genre類型
- Art Song · Vocal Recital · Classical
- Label廠牌
- Linn Records；目錄號 待確認
- Format介質
- CD ／ Streaming
- Released發行
- 2026-10-02
Everyone knows Elgar's Sea Pictures with an orchestra behind it. Taylor and Brown use the composer's own piano score instead — a score, Taylor says, that was probably only ever meant for rehearsals — and Brown has quietly fed the orchestral detail back into it, then written an article explaining what he changed. Some Elgarians object. Taylor is unbothered by that sort of thing: Sarah Connolly advised her against closing a recital with Sea Pictures, and she programmed it there anyway, a decision the Guardian repaid by setting her account beside Janet Baker's and Connolly's own. The rest of the programme arrived sideways. She was researching Mel Bonis when she came across Hedwige Chrétien, and sings her lower than the few existing recordings do. Cameron Biles-Liddell, a composer she met at the Three Choirs Festival while she was singing Holst and he was on the young-composers scheme, wrote The Breakers down into her lowest register at her suggestion. NPR's Tom Huizenga hears something cavernous in that register, a voice that can narrow a long line to a thread and then let the thing thunder. 康諾利的勸告後來得到了一個有點好笑的回應：衛報的 Clive Paget 評這張時，把 Taylor 的《海之畫》放在 Janet Baker 與康諾利自己的錄音旁邊，說站得住。不過真正讓這張碟長得跟別人不一樣的，是那份譜。《海之畫》這裡沒有管絃樂團，用的是艾爾加自己寫的鋼琴譜；Taylor 在 Presto 的專訪裡說，那份譜很可能原本只是為排練準備的。Hamish Brown 把管絃總譜裡的細節一點點加回鋼琴聲部，還專門寫了一篇文章交代自己改了什麼。艾爾加愛好者裡有人不同意這個版本。整套節目的來路也不直：她研究 Mel Bonis 的時候撞見了 Hedwige Chrétien，唱 Chrétien 時用了比常見錄音更低的調；為了篇幅，舒伯特和 Boulanger 姊妹被放棄掉。碟裡還有 Cameron Biles-Liddell 的《The Breakers》，是寫給她低音區的；兩人在 Three Choirs Festival 認識，當時她在唱霍爾斯特的《雲使》，他還在音樂節的新銳作曲家計劃裡；她建議他往低處寫，他就一路寫下去，中間有她和 Brown 一起參加的工作坊。NPR 的 Tom Huizenga 說她的聲音深、有洞穴感，能從一條長線收成一根細線，也能放出雷鳴般的力度。她自稱次女高音，但聽過的人幾乎都在談那個低音區。
Jake Blount — Single-Footing Horse
- Genre類型
- Folk · Old-Time · Stringband
- Label廠牌
- 自主發行；版權行「℗ 2026 Jake Blount (CC BY-NC-SA 4.0)」；目錄號 無
- Format介質
- Streaming
- Released發行
- 2026-09-18
Blount was about fifteen, at a DIY show outside an Ethiopian restaurant on U Street in Washington, when he first saw a banjo up close and a player named Byrne Klay told him where the instrument had come from. He had been playing electric guitar. What followed was a self-designed degree at Hamilton, two theses on old-time and early Black folk music, and a decade of saying out loud what the recording industry's segregation did to the shape of the repertoire — that collectors, as he put it to Afropop, "weren't going out and recording Black musicians." This is his last stringband record; he has announced that the name retires at the end of the year and returns in 2027 attached to something else. The reason he gives is smaller and sadder than a manifesto. Festival bookings had him adapting fiddle tunes for rooms that did not want fiddle tunes, and it cost him his pleasure in the music, so this time he chose only pieces he loves. The copyright line reads CC BY-NC-SA 4.0, which is an odd thing to find on a commercial streaming release, and which he has not explained. 他把告別辦成了一場死亡公告：年底之後 Jake Blount 這個名字就不用了，2027 年換名字、換聲音回來。WBUR 把範圍講清楚了：結束的是弦樂班子這個做法，音樂生涯照舊。更值得看的是他給的理由。他說主流音樂節的邀約逼他把 old-time 改編給不習慣純器樂曲的觀眾，這件事把他對這音樂的樂趣磨掉了；所以這張碟他挑的全是自己真心有感情的曲子，想要的是快樂，不是論證。他說在錄音室裡彈這些曲子的感覺，是很久以來最好的一次。他要的只是「被允許認真對待自己的音樂」。這張碟在 Apple Music 的版權行寫著「℗ 2026 Jake Blount (CC BY-NC-SA 4.0)」：商業串流上架卻掛知識共享授權，不過他本人沒解釋過為什麼。班底四個人，他只拉小提琴並演唱；Horse Flies 的 Judy Hyman 與 Jeff Claus 進來幫手；收尾那首是跟完全不同的一組人現場錄的。
空間現代（Kukangendai） — Baquet Wheel
- Genre類型
- Experimental Rock · Minimal · Free Improvisation
- Label廠牌
- Marionette
- Format介質
- Streaming ／ Vinyl
- Released發行
- 2026-10-02
A Kyoto trio that built its reputation on amplification has made a purely acoustic record and handed the capturing of it to one man's microphones — a pair of custom binaural mics built by Utah Takuma, whose own long project has been using amplification to hear vibrations nobody can otherwise hear. The band have not said why the amplifiers went away, and I am not going to invent a reason for them. There is a circumstantial clue, though. In September 2016 Noguchi, Koyano and Yamada opened a room of their own in Kyoto, Soto, part studio and part venue, where they book the shows themselves; in an interview with TURN they described writing, recording and performing all happening in the same space, and said it made them attentive to how a room shapes a sound. 這支 2006 年結成的京都三人組（野口順哉、古谷野慶輔、山田英晶）向來是靠放大器講話的。這張是純原聲，全曲現場錄音，收音用的是宇波拓做的一副特製雙耳麥克風。他們沒說為什麼要把擴音拿掉，我也不替他們補。倒是有件事可以當線索：2016 年 9 月他們在京都開了自己的房間「外」，既是錄音室也是 live house，演出自己訂。他們在 TURN 的訪談裡說，寫、錄、演都發生在同一個房間，所以開始對「房間怎麼塑造聲音」變得敏感，也開始更在意音色與共鳴。宇波拓這個人剛好補上了答案的另一半：他長年在做的事，是用放大去聽那些平時聽不見的振動。這回輪到他來收一支不放大的樂隊。
Helen — Linda's Head
- Genre類型
- Experimental Rock · Lo-fi · Dream Pop
- Label廠牌
- kranky（℗ 2026 kranky）；目錄號 待確認
- Format介質
- Streaming ／ Vinyl ／ CD
- Released發行
- 2026-10-02
Kranky's own copy says the three of them — Liz Harris of Grouper, Scott Simmons, Jed Bindeman — set out to be a thrash band and became something else. Eleven years after the first record, nobody has explained the gap. Jon Buckland in the Quietus calls the return a flourishing rather than a burst, and hears distorted guitar, surging drums, strings held in a tight reverb. kranky 自己的文案說，這三個人——Liz Harris（即 Grouper）、Scott Simmons、Jed Bindeman——本來想組的是一支鞭撻金屬樂隊，後來「變成了別的東西」。第二張距首張十一年，中間發生過什麼沒有人說。The Quietus 的 Jon Buckland 把這次回歸形容成不是爆發、更像繁盛，寫失真吉他與洶湧的鼓點，弦樂帶著緊緻的混響。
Kris Davis Trio — Lost in Geneva
- Genre類型
- Contemporary Jazz · Piano Trio
- Label廠牌
- 4166 Records，獨家授權 La Reserve Records, LLC；目錄號 待確認
- Format介質
- Streaming
- Released發行
- 2026-09-25
The birds on this tracklist have a documented address. Robert Hurst wrote "The Bluesy Bird in Bob's Backyard" after a visitor to his own garden, and the two pieces that flank it, "Mourning Dove" and "Northern Flicker", grew out of a pair of improvised introductions to it. Davis has been drawing on birdsong for years, so this is a habit rather than a conceit. Sitting among them is "Congestion Pricing", named for the tolls New York began charging cars entering Lower Manhattan: Hurst opens it with a resonant solo, traffic thickens, piano and drums break it up. The trio recorded in September of last year at Oktaven Audio in Mount Vernon. Paris-Move's reviewer argues that Hurst and Blake shape the music rather than accompany it, and offers as evidence Blake catching a bass figure before it has finished forming. 曲目表上那一串鳥名不是隨手起的。廠牌通稿寫明：〈The Bluesy Bird in Bob's Backyard〉是貝斯手 Robert Hurst 寫的，呼應一隻來他家院子的鳥；而夾在它前後的〈Mourning Dove〉與〈Northern Flicker〉，是從這首曲子的兩段即興前奏各自長出來的。通稿還提醒，Davis 取材鳥鳴由來已久，不是這一張才有的主意。這些鳥中間插著〈Congestion Pricing〉，指的是紐約去年開徵的壅塞費。三重奏是 Davis 鋼琴、Hurst 貝斯、Johnathan Blake 鼓，去年九月錄於紐約 Mount Vernon 的 Oktaven Audio。Paris-Move 說 Hurst 與 Blake 不是在伴奏而是在塑形，近乎第二個作曲聲部，還舉例說 Blake 能在一個貝斯動機成形之前就接住它。
claire rousay & Martyna Basta — hotel room
- Genre類型
- Ambient · Experimental · Electronic
- Label廠牌
- Unsound（℗ 2026 Unsound Productions）；目錄號 待確認
- Format介質
- Streaming
- Released發行
- 2026-09-25
Cafe OTO's old artist page for Basta lists rousay among the people who inspired her. The two names now sit side by side on a sleeve. They met at an Unsound residency in Kraków in 2023, traded ideas, planned something, then went away and drafted separately; rousay mixed the result. The title is not a particular room but the condition of touring, and rousay has said that being able to talk about it was a comfort. Their routes here could hardly be less alike — rousay drumming in an evangelical church before dropping out of school at fifteen to play percussion, Basta starting on classical guitar at six and then declining the conservatoire path, drawn, she says, to music that causes discomfort. Cafe OTO 的舊簡介裡，rousay 還被列在 Basta 的「啟發我的藝術家」那一欄。幾年之後，兩個人的名字並排印在同一張碟上。見面是 2023 年在克拉科夫的 Unsound 駐地，交換想法、規劃合作；之後各自分頭做草稿，最終混音由 rousay 完成。標題不是某一個房間——她們說的是巡演期間不斷換位置的那種漂泊感，rousay 說能跟人談這種體驗讓她覺得安慰。兩人的來路差得很遠：rousay 在福音派家庭長大、在教會裡打鼓，十五歲輟學去做獨奏打擊樂手；Basta 六歲學古典吉他，畢業後沒走音樂學院那條路，自述喜歡「會引起不適的音樂」。
Pierre-Laurent Aimard — Schönberg: Piano Works
- Genre類型
- Contemporary Classical · Solo Piano · Modernism
- Label廠牌
- Alpha Classics
- Format介質
- CD ／ Streaming
- Released發行
- 2026-10-02
Aimard's case for this record is an observation rather than a memory. Schönberg's piano music, he notes in Alpha's announcement, is still barely recorded — conspicuous in an age when everything exists in several versions — and he suspects either a long misunderstanding or an audience that needs more time. He has had time himself. Presto records that he played the Op. 11 pieces live on French television as a Paris Conservatoire student, straight after winning the Olivier Messiaen Competition in 1973, and the same three pieces open the album he has finally made, more than four decades later. It is his first for Alpha, who have already scheduled the companion: Beethoven set against Scriabin, Stockhausen and Boulez, next March. One correction worth making, since it circulates: he studied with Yvonne Loriod and won a competition named for Messiaen, which is not the same as having been Messiaen's pupil. 五十三年前他就在電視上彈過這張碟的開場。Presto 寫明：他還是巴黎音樂院學生、剛贏下奧利維耶·梅西安大賽那年（1973），在法國電視上現場演奏了 Op.11 那三首。這回那三首排在最前面，而整張是他等了四十多年才錄的。他給的理由不帶懷舊，只是一句觀察——在 Alpha 的簽約稿裡他說，荀白克的鋼琴作品到今天錄音仍然很少，在一個什麼都有好幾個版本的時代，這件事相當顯眼；原因可能是長期的誤解，也可能是聽眾需要更多時間消化。這是他在 Alpha Classics 的第一張，第二張已經排好，明年三月，把貝多芬和 Scriabin、Stockhausen、佈列茲編在一起。順帶更正一個常見的說法：他師從的是 Yvonne Loriod，贏的是梅西安大賽，不是梅西安本人的學生。
Peter Jablonski, Gävle Symphony Orchestra & Christian Reif — Melchers: Piano Concertos
- Genre類型
- Late Romantic · Piano Concerto · Classical
- Label廠牌
- Ondine（℗ 2026 Ondine Oy, Helsinki）；目錄號 待確認
- Format介質
- CD ／ Streaming
- Released發行
- 2026-10-02
He was born Henrik Melcher Svensson in Stockholm in 1882 and changed the surname because the new one sounded French. In Paris he knew Picasso, Matisse, who painted him, Modigliani, Trotsky and Germaine Tailleferre, and co-founded a concert society with Satie's backing. Swedish Musical Heritage notes that his part in it went almost unacknowledged, and that he seldom spoke of those years afterwards. The second concerto was written for the Dutch pianist Henriette Hartog, whom he had married a decade before. 這位作曲家本來姓斯文森。Melcher Melchers 1882 年在斯德哥爾摩出生時叫 Henrik Melcher Svensson，後來把姓改了，因為新的姓聽起來更法國。他在巴黎那些年的名單相當可觀：畢加索、馬蒂斯（畫過他的肖像）、莫迪裡亞尼、托洛茨基、Germaine Tailleferre；他還在薩蒂的支持下共同創辦了音樂會社 Lyre et Palette。瑞典音樂遺產機構的說法卻是，他在 Lyre et Palette 的角色幾乎無人承認，他本人也很少談那段日子。第二號協奏曲是寫給荷蘭鋼琴家 Henriette Hartog 的，而他 1921 年就娶了她，曲子 1931 年才寫。這不是第二號的首錄；Jablonski 近年在 Ondine 一路挖 Stanchinsky、Bacewicz、André Tchaikowsky，這張接的是同一條線。
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