Daily Drops · Vol.176每日唱片 · Vol.176
The ensemble recorded the music, then put the recording through the cut-up. R.E.M. 的兩個人被叫進同一間棚
Anne Waldman, Thurston Moore, James Ilgenfritz & Anagram Ensemble — The Travel Agency Is On Fire
- Genre類型
- Experimental · Spoken Word · Free Improvisation
- Label廠牌
- Infrequent Seams；目錄號 未找到
- Format介質
- CD（限量手工組裝 4CD box：手繪外盒 ＋ 裝飾書衣 ＋ 12 頁小冊）／ Streaming
- Released發行
- 2026-09-25
James Ilgenfritz had already turned The Ticket that Exploded into an opera before he came across the texts behind this record, which is worth knowing, because it explains the confidence of the gesture. The texts are cut-ups Burroughs never published, brought out by the researcher Alex Wermer-Colan more than twenty years after his death. The method reached Burroughs from Brion Gysin in Paris: print a page, cut it apart, reassemble at random. Ilgenfritz applies it twice over. He recorded the music with the Anagram Ensemble, then put that recording through the same process, and the cut-up music is what Anne Waldman and Thurston Moore read over, their voices processed and layered back into it. Four discs, three strata: the readings over cut-up music; then the readings set against pieces by Zeena Parkins, Elliott Sharp and JG Thirlwell; and last, the short improvisations left over from the sessions, with David First, Brian Chase and William Winant among the players. George Grella, reviewing it for Bandcamp Daily, calls the cut-up stretches dizzying and the whole thing operatic — a drama assembled out of voices, heading for a resolution that may well be an illusion — and finds the improvisations easier to decipher. I would put the same observation differently. That last stratum is the only part of the record nobody took a blade to, and it sounds like someone finally setting the scissors down. 剪貼法的來歷是這樣的：Brion Gysin 在巴黎教給 Burroughs，把印好的紙頁剪開、隨機重排。六十多年後，James Ilgenfritz 把這套手法翻了一倍——文本照剪，音樂也照剪。他先帶 Anagram Ensemble 把曲子錄完，再把那份錄音送進同一道流程，最後拿切碎的音樂去墊 Anne Waldman 與 Thurston Moore 的誦讀。文本本身也不是從舊書上抄來的：那是 Burroughs 生前沒發表的剪貼稿，由研究者 Alex Wermer-Colan 在他去世二十多年後整理出版，Ilgenfritz 是從那批出版物裡翻到的。他碰 Burroughs 不是第一次，之前已經把《The Ticket that Exploded》做成過歌劇。四張碟分三層：第一層是兩人的誦讀疊在切過的音樂上（〈Man Like Goodbye〉〈Jack Kerouac Come In Please〉）；第二層把誦讀放在 Zeena Parkins、Elliott Sharp、JG Thirlwell 各自的作品上；第三層是錄音現場剩下的短篇即興，參與的人裡有 David First、Brian Chase、William Winant。Bandcamp Daily 的 George Grella 說切割段落跟起來令人暈眩，意義是碎的，心理效果詭異；而他認為末尾那些即興反倒比機率生成的文本好讀。我同意他的判斷，但原因未必在好讀——第三層是整套方法唯一沒有動手的地方，聽起來像有人終於把剪刀放下了。實體版是手工組裝的四碟盒，手繪外盒加十二頁小冊。
Margo Cilker — Little White Cross
- Genre類型
- Americana · Country · Singer-Songwriter
- Label廠牌
- Fossil Records；目錄號 未找到
- Format介質
- Vinyl ／ CD ／ Streaming
- Released發行
- 2026-10-09
Eric Heywood's pedal steel is on every song here, and it does much of the work of holding together a record that is, by design, not quite hers. Cilker wrote very little of this third album: the title song is Cristy Hays's, "Ladybug" is Sera Cahoone's, "Road to Las Cruces" is Ian Tyson's, "The Money" is Kevin Carducci's, "Wolves" is Stephanie Davis's, and then there is a Tom Petty cover. She took the whole thing to Lockhart, Texas, to cut it live to tape in Bruce Robison's own studio with Robison producing, which is a long way from Portland or Seattle and plainly the reason for going. Zara Hedderman, in Bandcamp Daily, singles out "Molly and Me" — two co-workers in a strip-mall store, and the thing that happens in one of their houses, carried on a double bass — and hears in Cilker's phrasing a weariness that makes the quiet songs heavier than they look. Saving Country Music, less convinced, finds "The Money" and "Pauline" repetitive. 第三張專輯，而她自己寫的部分少得反常。同名曲出自 Cristy Hays，〈Ladybug〉是 Sera Cahoone，〈Road to Las Cruces〉是 Ian Tyson，〈The Money〉是 Kevin Carducci，〈Wolves〉是 Stephanie Davis，再加一首 Tom Petty 的〈Walls〉。Saving Country Music 那篇評論對這個比例也表示訝異。錄音地點同樣不是就近處理：她沒去 Portland 或 Seattle，而是跑到德州 Lockhart，進唱作人 Bruce Robison 自己的錄音室，由他製作，整張 live-to-tape。班底是 Eric Heywood 的踏板鋼棒吉他、Lisa Pankratz 的鼓、Beth Chrisman 的提琴、Scott Davis 的貝斯；親姊妹 Sarah Cilker 唱和聲，丈夫 Forrest VanTuyl 跟她合寫〈Maryhill Peaches, Goodnoe Pairs〉。Bandcamp Daily 的 Zara Hedderman 把〈Molly and Me〉點為全碟最強——寫一家 strip-mall 店裡兩個同事的交情，和其中一人家裡出的事，底下託著一把低音提琴；她拿 Springsteen 的《Nebraska》作比。她還聽出 Cilker 咬字裡有一種必要的疲憊，讓最安靜的段落變重。至於她自稱這是概念專輯這件事：概念從頭到尾沒講清楚，開場幾首全是死亡與意外，中段才轉向。
Stef Chura — Dancing Alone on the Concrete
- Genre類型
- Indie Rock · Jangle Pop
- Label廠牌
- Saddle Creek；目錄號 未找到
- Format介質
- Vinyl ／ CD ／ Streaming
- Released發行
- 2026-10-02
The piano now stands level with the guitar, which is the first thing Jennifer Kelly notices in Bandcamp Daily, and "Lovesick" goes further: no drums at all, the piano keeping time by itself while the voice wanders around the melody. Seven years since Midnight, and in those years Chura left a long relationship, started dating again, became a mother, and moved from Detroit to New Orleans and back again. Robert Schneider produced this one in Athens, Georgia, and the Athens address pays off on "Danny": Schneider suggested Mike Mills for the bass, David Barbe and Andy LeMaster got him and Peter Buck into the room together, and Kelly calls the result the best thing here — jangle, a longing Motown horn line, a country vibrato. The song is about a party in New Orleans that Chura turned down, and about the version of herself who went. R.E.M. 的兩個人被叫進同一間棚。Peter Buck 與 Mike Mills 一起出現在〈Danny〉裡，而這是撮合出來的：製作人 Robert Schneider 先提議找 Mike Mills 彈貝斯，再由 Athens 本地的 David Barbe 與 Andy LeMaster 把兩人請進來。同一張碟裡還有 Neutral Milk Hotel 的 Scott Spillane 與 The Olivia Tremor Control 的 John Fernandes 在〈Babydoll〉。距 2019 年的《Midnight》隔了七年。那七年裡她離開一段長期關係、重新開始約會、當了母親，住處從底特律搬到紐奧良再搬回底特律，錄音那段時間人其實住在紐奧良。〈Danny〉寫的就是紐奧良一次真實的擦肩：她婉拒了一個派對邀約，事後一直在想那個去了的自己。Bandcamp Daily 的 Jennifer Kelly 說她的嗓音少了生澀、多了大開大合，鋼琴開始與吉他平起平坐；〈Lovesick〉整首沒有鼓，鋼琴自己打拍子，人聲在旋律四周遊走。她把〈Danny〉點為全碟最佳：明亮的 jangle 吉他、帶渴望的 Motown 銅管、country 式的顫音疊在一起。
藤井郷子オーケストラ名古屋 — KoreKara
- Genre類型
- Avant-Garde Jazz · Big Band · Free Improvisation
- Label廠牌
- Libra Records（℗ 2026 Libra Records）；目錄號 未找到
- Format介質
- Streaming
- Released發行
- 2026-10-02
The alto player in this band, Shingo Takeda, runs a small café near Nagoya station with his wife Ririko Mio. Fujii and Natsuki Tamura used to stop there after gigs before catching the train home, and the couple eventually asked her to write something for the café's twentieth anniversary. The suite was premiered in July 2021, with everyone tested before going on stage. KoreKara means from here on, and Fujii has said she wanted to write the café's future rather than its past. Paris-Move hears the brass pushed into the middle of the structure, narrating rather than decorating, with the written parts and the improvised ones shoving at each other and neither giving way. 這套組曲是一間咖啡館的委託。藤井郷子（Satoko Fujii）的這支名古屋編制裡，吹中音薩克斯的武田真吾與妻子 Ririko Mio 在名古屋車站附近開了家叫 Rojura no Matari 的小店；藤井與田村夏樹在名古屋演出後習慣去那裡坐一坐再搭車回去，夫妻倆後來請她為店的二十週年寫曲。首演在 2021 年 7 月，COVID 還在，所有樂手上臺前先做了檢測。曲名的意思是「從今以後」——她說她要寫的是這家店的未來，不是它的過去。店後來搬到另一個有餐館、商店與黑膠唱片行的街區，離車站更遠了，她還是去。Paris-Move 的評論說她把銅管推到正中央，像一支會講故事的 fanfare，銅管在這裡不是裝飾而是敘事主體；寫譜與即興在她的編曲裡互相頂撞，誰也不讓誰。他把這種做法叫作一種後現代古典主義。那個詞我未必買，但「互相頂撞」四個字抓得準。
IVM Trio — Explain Yourselves
- Genre類型
- Experimental Electronic · Post-Club · Free Improvisation
- Label廠牌
- Accidental Meetings；目錄號 未找到
- Format介質
- Streaming
- Released發行
- 2026-10-02
IVM is short for Inner Voice Movement, and the title of this debut is an instruction the band has no intention of obeying. Mika Oki, one of the three, makes fog-and-mirror installations for a living; Sébastien Forrester plays percussion and composes, Apulati Bien produces. Three guests sing, from three cities and three traditions: Sara Persico on "Print," Grove on "Beryl," and bela, who brings a guttural voice to "This Heart is Determined Not to Shatter." Matthew Blackwell, in Bandcamp Daily, says the pieces are built more like dreams than songs, and watches "Triads" come apart from a subway-like opening into something closer to panic. 團名縮寫的全寫是 Inner Voice Movement，這是首張專輯。三人裡 Mika Oki 的本業不是音樂而是視覺藝術，她做的是霧與鏡的裝置；另兩位是打擊樂手兼作曲的 Sébastien Forrester 與製作人 Apulati Bien。客座人聲找了三位，分屬三個城市與三種用嗓法：那不勒斯的聲音藝術家 Sara Persico 在〈Print〉裡放了一段敘事，布里斯托的 Grove 在〈Beryl〉裡唸白，南韓的 bela 在〈This Heart is Determined Not to Shatter〉裡用上喉音。Bandcamp Daily 的 Matthew Blackwell 說每首的結構比較像一場夢而不像一首歌，他點名〈Triads〉從地鐵般的開場一路崩到慌亂；結論是樂團無意解釋自己，聽者得在煙與鏡的迷宮裡自己找路。專輯名是一句命令，而他們顯然不打算照辦。
yeti let you notice — 量子、微睡、影送り。
- Genre類型
- Alternative Rock · Indie Rock · Math Rock
- Label廠牌
- Oaiko；EAN 4522197168531
- Format介質
- CD ／ Streaming ／ Hi-Res
- Released發行
- 2026-09-30
The second stop of the tour is Taipei, on 24 October, and the last night is in Shibuya on 28 November, which happens to be the final day of the band's tenth year. The record they are carrying is their third, and for it they tied their own hands: the arrangements keep only what can actually be played live, so the elaborate digital sound of the first two albums is gone. OTOTOY's announcement states the principle plainly. I can find no proper review of this in any language, so I will leave the listening to you. 第三張專輯《量子、微睡、影送り。》（英譯題 quantum, slumber, sun setting.），而他們這次做的事是把自己綁起來：編曲只留「現場真的彈得出來的部分」。前兩作用了大量華麗的數位聲響，這回刻意全部砍掉，整張由可演奏的聲部構成，為的是讓錄音與現場對得上。OTOTOY 的新聞稿把這條原則寫得很直白。十一曲裡〈continue?〉〈不透明透明人間〉〈ヴィユ・マルシェ広場〉是先行單曲，其餘新寫；作曲與編曲找來 Grape Kiki、FUJI 與 fulusu 的 Joseph Gen，混音與母帶由澤田空海理與イロハ分擔。巡演第二站就在臺北：10 月 24 日 CLASH NEW TAIPEI 單獨公演；終場 11 月 28 日在渋谷 WWW，那天同時是樂團成軍十週年的最後一天，與笹川真生雙人場。這張碟我找不到任何獨立長文樂評，Mikiki 那篇是唱片行買手的推薦，不算評論。所以聽感我不寫，只記下那條編曲原則——它比任何形容詞都說明問題。
Akademie für Alte Musik Berlin, Alexander Melnikov & Bernhard Forck — Emilie Mayer: Symphonic Works, Vol. 1
- Genre類型
- Classical · Romantic Orchestral · Period Instruments
- Label廠牌
- Harmonia Mundi；目錄號 HMM905417
- Format介質
- CD ／ Streaming ／ Hi-Res
- Released發行
- 2026-09-18
Melnikov did not bring a Viennese fortepiano to this. He plays a Blüthner, a Leipzig instrument, and in the concerto's first movement he uses its range of colour and some carefully judged rubato to lift lines that would otherwise plod; Mayer leans on Alberti bass and scale figures, having been a competent pianist rather than a virtuoso. Katherine Cooper's Presto review is unusually blunt about the raw material, calling it rather pedestrian, and hands the credit to the soloist; she thinks Mayer's own writing comes properly alive in the "La Chasse" rondo. What is strange and good in the orchestral music is the weighting. Mayer favours dark colours and treats the bottom of the orchestra oddly, giving the cellos violinistic passagework in the opening overture, and the grain of Akamus's period instruments is what makes that legible. Forck directs from the violin and leaves the textures room to breathe. She began composing seriously only after her father died in 1840; in Berlin she entered her profession on the city register as composer, and organised her own concerts at the Royal Court Theatre. Presto 的 Katherine Cooper 寫這張的方式值得一看：她直說 Mayer 這批早期作品是「rather pedestrian raw material」，然後把功勞給了鋼琴家，用的說法是 Melnikov 的點金術起了作用。這種評法在古典唱片界並不常見，通常大家會替作曲家留點面子。有了這個前提，剩下的細節才站得住。Melnikov 沒有用慣常的維也納式 fortepiano，手上那臺是萊比錫產的 Blüthner；第一樂章那些原本會顯得沉悶的線條，他用拿捏得當的 rubato 帶起來，再靠樂器的音色幅度做明暗。Cooper 認為真正站住的是「La Chasse」風格的 Rondo 樂章。Mayer 自己的手法也留了記號：她偏愛暗色，低音聲部用法不尋常，開場序曲裡大提琴奏的是聽起來像小提琴的走句；Akamus 的古樂器音色粗糲而哀切，正好把這種寫法講清楚，Forck 從小提琴席領奏，讓織體有呼吸空間。Gramophone 十月號說他們奏得「with zest, commitment and impeccable balance」。生平那一段也不只是背景：父親 1840 年去世之後她才認真作曲，到柏林後在市政戶籍上把職業登記為作曲家，並自己張羅在皇家宮廷劇院辦音樂會。同代人叫她「女貝多芬」，Cooper 說那是好意，卻把人壓扁了。
Les Lucioles — Christopher Simpson: The Seasons, The Monthes & other divisions of Time – II
- Genre類型
- Early Music · Viol Consort · English Baroque
- Label廠牌
- Alpha Classics；目錄號 ALPHA1266
- Format介質
- CD ／ Streaming
- Released發行
- 2026-09-18
這是一張接手別人未完成工程的唱片。上半套——The Spring、Winter 與七月之前的 The Monthes——是比利時維奧爾琴家 Sophie Watillon 二十年前為 Alpha 錄的，唱片發行一年後她去世；剩下的七月到十二月，加上 Autumne 與 Summer，由 Lucile Boulanger 帶 Les Lucioles 補完。Boulanger 在文案裡直接向她致意，說 Watillon 那種從不炫耀的從容、那份新鮮感與音樂上的溫度，讓她成為自己童年裡最難忘的女性榜樣之一。這句話放在這個位置有重量：Boulanger 五歲開始學維奧爾琴，先後師從 Christine Plubeau、Ariane Maurette、Jérome Hantaï，再入巴黎高等音樂院從 Christophe Coin，2009 年一致通過畢業。也就是說，她從一開始就是聽著那一路錄音長大的那種人。曲目除季節與月份之外，還收了一首〈Almain solo in high harp-way sharp〉、一首 D 小調 Division、一首給兩把 division viol 的 F 大調二重奏。Presto 的 David Smith 把它放在「比韋瓦第《四季》更早、更私密」那個位置。本碟目前找不到更細的專評，聽感就到這裡。
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