Daily Drops · Vol.177每日唱片 · Vol.177
The swing, broken into three movements, is also how they describe being in a band. 同名曲進了專輯又重做一次母帶，Apple 上那一軌還掛著 Remastered
海龜先生（Hai Gui Xian Sheng） — 假如春天來臨，
- Genre類型
- Indie Rock · Alternative Rock
- Label廠牌
- By Grace Records；出版方 StreetVoice／成都白白地得文化傳媒有限公司；目錄號 未找到
- Format介質
- Streaming
- Released發行
- 2026-09-28
Track five is called 揮拍, the swing, and it is about playing tennis, which Li Hongqi and his wife play. At a listening session in Beijing on 31 August he stopped mid-sentence and broke the stroke down on stage into three movements — push off the ground, turn the hips, swing — and the band's own announcement for the single had already borrowed that sequence to describe what being in a band is like. The record was built the same way: nine songs put out one single at a time across five months, in three chapters, each with a concept film in which the keyboard player Yan Peng drives out of the spring and arrives, eventually, at a beach, parks, and walks down to the sand. The credits carry the mark of it. April's title track was mastered by Andy Baldwin; July's 揮拍 was mixed and mastered by Lu Nan at MWMusic; September's 失乐园 and 影子 were both handled by Andrew Naoya Foulds. Lu Nan recorded the drums, percussion and bass; for everything else the credit reads "other recording: Mr. Sea Turtle," which is to say they did it themselves. Li Hongqi, who has said in print that he is a Christian first and a musician second, wrote 告别 after his father died and wrote the title track immediately after that. Douban's review column for the album is still empty, and the short notes underneath it are not kind: one listener misses the reggae and the funk, another says they could not get through it. 網球那件事不只是個題材，它是這張碟的工作方式。整張九首從四月的同名單曲開始，一首一首拆成五個月放出來，分三章，依次是「向外·行走的人」「向前」「向內·回家的人」，每章配一支概念短片，出鏡的是鍵盤手顏鵬本人，他開著車，從春意盎然一路開到海邊，停車，走向沙灘。這種放法留下了一個很誠實的副作用：混音與母帶是按單曲換人的。四月那支的母帶是 Andy Baldwin，七月的〈揮拍〉混音與母帶都由盧楠在 MWMusic 做完，九月的〈失樂園〉與〈影子〉則是 Andrew Naoya Foulds 兩件都包了。進專輯時同名曲還重做了一次母帶，Apple 上那一軌的曲名後面就掛著 Remastered。錄音的分工也寫得很白：鼓、打擊樂與貝斯由盧楠錄，其餘聲軌 credits 上寫的是「其他錄音：海龜先生」，意思就是他們自己錄的。〈告別〉寫在李紅旗父親離世之後，而同名曲〈假如春天來臨〉是緊接著它寫的；他說那陣子他問自己，有沒有準備好把積極的情緒流出來。
Toby Carr — Softest Thunder
- Genre類型
- Early Music · Lute · Contemporary Classical
- Label廠牌
- Delphian Records；目錄號 DCD34344
- Format介質
- CD ／ Streaming
- Released發行
- 2026-10-09
The lute is a ten-course Renaissance instrument that Jiří Čepelák finished in 2023, and most of what Carr plays on it is four hundred years older than the thing it is played on: Dowland, Robert Johnson, Robert Ballard, Gaultier, Rosseter, Batchelar. A new instrument on old repertoire is ordinary in early music; what is less ordinary is what he has mixed in. His own arrangements of Purcell, John Eccles, Satie and Poulenc sit in the same programme, with Satie's first Gymnopédie falling directly after Gaultier's courante "Son Adieu," and at the centre is "Blue," a new piece he commissioned from the guitarist-composer Laura Snowden, wedged between Dowland's "Tarleton's Resurrection" and Johnson's Pavan. This is the first time he has recorded alone; his last outing for Delphian was Battle Cry, a duo record with the mezzo Helen Charlston that took a Gramophone award and a BBC Music Magazine award in the same year, 2023. Paul Baxter, who founded the label, engineered it himself over three days in a collegiate church outside Edinburgh. It came out on 9 October and no one has reviewed it yet, so I will leave the sound to the people who get there first. 琴是 Jiří Čepelák 在 2023 年新做的十弦文藝復興魯特琴，而這套曲目大半來自四百年前：Dowland、Robert Johnson、Robert Ballard、Gaultier、Rosseter、Batchelar。新琴彈舊曲在古樂圈不算新聞，值得看的是他往裡面摻了什麼：Purcell、John Eccles、Satie 與 Poulenc 的改編全是他自己做的，Satie 的〈Gymnopédie No. 1〉緊接在 Gaultier 的 Courante〈Son Adieu〉後面；整場正中央是向吉他手兼作曲家 Laura Snowden 委約的新作〈Blue〉，被刻意放在 Dowland 的〈Tarleton's Resurrection〉與 Robert Johnson 的 Pavan 之間。這是他的首張個人獨奏錄音，上一張 Delphian 是與女中音 Helen Charlston 的《Battle Cry》，2023 年同時拿下 Gramophone 與 BBC Music Magazine 的獎。製作人兼錄音師 Paul Baxter 是 Delphian 創辦人本人。10 月 9 日才發行，目前還沒有任何專評出來，所以聽感我不代寫。
La Serenissima & Adrian Chandler — Hell's Angels
- Genre類型
- Baroque · Period Instruments · Chamber
- Label廠牌
- Signum Classics；目錄號 SIGCD1009
- Format介質
- CD ／ Streaming ／ Hi-Res
- Released發行
- 2026-10-09
Both of this group's Gramophone awards are in the baroque instrumental category, and in the thirty years since Adrian Chandler founded it in 1994 it has prepared every edition it records from manuscript or from contemporary prints. The reason is less romantic than it sounds: a great deal of baroque repertoire has no usable modern score, so a group that wants to record it has to make the score first. RV 820 is the centre of this programme and its manuscript is lost, so Chandler wrote the last movement himself. Around it: Vivaldi's RV 68, Benedetto Marcello's Op. 2 No. 5 for two cellos, Leclair's Op. 12 No. 5, Guillemain's Op. 13 No. 1 for harpsichord and violin, and Mascitti's Op. 6 No. 15 — Italian technique going north, French technique coming back, and a generation of players picking up each other's habits. The title comes from an account of Locatelli and Leclair meeting in 1728, where somebody described one of them as angelic and the other as diabolical. 這個樂團 1994 年由 Adrian Chandler 創立，三十年來所有錄音曲目都由樂團自己從手稿或當代原始版本校訂成譜。理由很實際：巴洛克曲目有大半沒有可用的現代樂譜，要錄就得先把譜做出來。核心那首 Vivaldi RV 820 的原始手稿已經遺失，末樂章是 Chandler 自己補完的。節目的軸線來自 1728 年的一次會面：Locatelli 與 Leclair 當年碰了頭，有人用「天使的」與「魔鬼的」形容兩人截然相反的演奏風格，碟名就是從那裡來的。曲目排了 RV 820、RV 68、Benedetto Marcello 的 Op. 2 No. 5、Leclair 的 Op. 12 No. 5、Guillemain 的 Op. 13 No. 1、Mascitti 的 Op. 6 No. 15。兩座 Gramophone Award 都是巴洛克器樂類。
Jess Williamson — A Mile South of Heaven
- Genre類型
- Singer-Songwriter · Country · Americana
- Label廠牌
- New West Records；目錄號 未找到
- Format介質
- Vinyl ／ Vinyl (New West Exclusive Color, Signed) ／ CD ／ Streaming
- Released發行
- 2026-10-09
The opening single takes its title from Joan Didion's "Goodbye to All That," an essay about leaving New York, and borrowing it is a fairly direct way of announcing what the record is for. Williamson has been keeping the Marfa art scene in her songs for years while living in Los Angeles; Maeri Ferguson, writing in No Depression, reports that she now intends to leave California altogether, and reads the album as a weighing — ambition on one side, a quieter and less heartbroken life on the other. Seventh album, first for New West after a run on Mexican Summer, produced by Shooter Jennings, with Bonnie and Eleanor Whitmore on the harmonies. Ferguson dates Williamson's full-chested delivery to Sorceress in 2020 and hears it settling here. The detail I keep coming back to is from the same review and belongs to no song: she has adopted a stretch of Texas highway outside Marfa, and the sign out there now carries her name. A songwriter on her way out of California, with her name already bolted to a post in Texas. 她在 Marfa 城外認養了一段德州公路，路牌上現在掛著她的名字。這件事和碟裡任何一首歌都沒有關係，卻大概是最能說明這張碟站在哪裡的一個細節：一個把 Marfa 寫進歌裡多年、人卻住在洛杉磯的德州唱作人，第七張碟第一次簽 New West，此前一直在 Mexican Summer。製作人請了 Shooter Jennings，Waylon Jennings 的兒子，廠牌文案自己也提了 Linda Ronstadt 與 Waylon 的回聲；Bonnie Whitmore 與 Eleanor Whitmore 姐妹參與演奏與和聲。No Depression 的 Maeri Ferguson 把整張讀成一次秤重：一邊是野心，一邊是「想過一種不那麼心碎的安靜生活」；她認為 Williamson 那種從胸腔出來的唱法大約從 2020 年的《Sorceress》開始定型。
Greg Freeman — All Set The Bone
- Genre類型
- Indie Rock · Post-Hardcore · Americana
- Label廠牌
- Transgressive（北美 Canvasback）；目錄號 未找到
- Format介質
- Vinyl（雙碟）／ Vinyl (Dinked Edition 428, "Dusk" 色膠) ／ Streaming
- Released發行
- 2026-10-02
Freeman wrote the whole record in the second person on purpose, and his reason is specific: politics in the first person turns into a sermon. "Culture" takes the idea as far as it goes — the song drops its chorus altogether and runs a free-flowing soapbox monologue instead, which is what Danielle Chelosky singles out in Stereogum, where she also calls this his loudest and wildest. Two records with Benny Yurco, and then John Congleton in Los Angeles; the switch is audible in the way the band is recorded rather than in the songs, and the band had barely rehearsed before the tape rolled. Freeman had just left Burlington, worked on this in New Mexico and California, and calls the result a reflection of a lot of change and a lot of tension. Stereogum 的 Danielle Chelosky 點名〈Culture〉乾脆丟掉傳統副歌，換成一段自由流動的肥皂箱式獨白，並稱這是他最吵最野的一張。獨白這個形式是有理由的：他自述刻意全碟用第二人稱寫，理由很具體——政治題材一用第一人稱就容易變成說教，第二人稱把聽的人推到臺上去。這張做在他搬離待了很久的 Burlington 之後，寫作與工作地點移到 New Mexico 與 Los Angeles，製作人也從前兩張的 Benny Yurco 換成 John Congleton。樂團進棚前只合排了很短一段時間就開錄。
香田悠真（Yuma Koda） — Amid Kinos
- Genre類型
- Ambient · Contemporary Jazz · Musique Concrète
- Label廠牌
- NEWHERE MUSIC；目錄號 未找到
- Format介質
- Streaming
- Released發行
- 2026-10-02
The field recordings come from Portugal, Tokyo, Denmark and New York, and they have been layered and relayered against piano until the geography stops reporting anything. Koda has said he wanted the memory blurred rather than documented, and the collage is doing the blurring on purpose. The method sits oddly well with the way he got here: born in 1991, classical piano as a child, no conservatory, Milan through a composition teacher's contacts, then several years with a jazz teacher, then film scoring, with the electronics self-taught. Classical, jazz, electronics, and no diploma anywhere along the seam. The title means, more or less, inside the cinemas — his father studied film in San Francisco, came home and opened a two-screen house, one screen for commercial pictures and one for art films. Rolling Stone Japan calls him a musician who lives in between. The guest list he assembled out of friendships rather than casting: Shuhei Kato, Takuro Okada, Shun Ishiwaka, Kei Matsumaru, Shinya Fukumori, Mei Semones, Yuma Abe, Julia Shortreed, Marty Holoubek. 專輯名直譯是「在電影院裡」，來自他父親在舊金山唸完電影後回日本開的那家兩廳戲院，一廳排商業片，一廳排藝術片。他自己這條路沒有學院編號：1991 年生，童年學古典鋼琴，但沒念音樂院——進修是靠一位作曲老師的關係去了米蘭，回來又跟一位爵士老師學了數年，由此轉進電影配樂，電子則是自己摸出來的。古典、爵士、電子這三段之間沒有任何一張學歷把它們接起來，碟的方法倒是把它們接起來了：葡萄牙、東京、丹麥、紐約四地的 field recording 與鋼琴一起反覆疊層再處理，刻意把記憶做得模糊。Rolling Stone Japan 把他定位為「間にいる音楽家」，夾在中間的音樂家。客座名單是他自己把朋友聚過來的：加藤修平、岡田拓郎、石若駿、松丸契、福盛進也、Mei Semones、安部勇磨、Julia Shortreed、Marty Holoubek。
溫蒂漫步（Wendy Wander） — The House Of
- Genre類型
- Dream Pop · City Pop · Funk-Disco
- Label廠牌
- 睦木文化股份有限公司 MOMENTO；目錄號 未找到
- Format介質
- Streaming ／ 實體
- Released發行
- 2026-09-24
To get into the listening party on 19 September you had to walk through the album's key art. Fang Hsu-Chung, the designer, built "The Entrance" as a full-height screen at SUB in Taipei, and the audience went through it into a room of bubbles and neon; the tickets went in no time, and four documentary segments on the making of the record played between songs. That is a lot of apparatus for a third album by a five-piece, and the record mostly earns it — dream pop with a disco floor under it, fussed over to a degree the producer Li Chuan-Che has complained about publicly. He went in expecting a band that fusses over coffee and vinyl, and found one that buys old cars and rebuilds them; the singer Tseng Ni drives a thirty-year-old car she modified herself. The record is put together the same way. It sounds like dance music and it is made of old parts taken apart and bolted back. 製作人李權哲進棚前以為會碰上一支泡精品咖啡、聽黑膠的獨立樂團，結果發現這群人的嗜好是買舊車來改：主唱曾妮自己就開一臺改裝過的三十年老車。那個落差就是這張碟：表面聽起來是舞曲，底下是一群人把舊零件拆開重裝。他給先行曲〈秘密 the hidden me〉的定位是「溫式舞曲」，自己比喻成一杯 Gin Tonic；他也說曾妮對混音與人聲編輯極度龜毛，逼著他一版一版重做。設計師方序中出任專輯與試聽會創意總監，主視覺「The Entrance」被做成一張巨幕，9 月 19 日在臺北 SUB 讓觀眾穿過它走進滿是泡泡與霓虹的空間。至於貝斯手江楊飆高音的辦法：一手舉到後腦，一手掐住自己的腋下。
Danilo Gallo EDE — L'expérience est une forme de paralysie
- Genre類型
- Contemporary Jazz · Free Improvisation · Chamber Jazz
- Label廠牌
- Aut Records；目錄號 未找到
- Format介質
- CD (Limited Edition digipack, 附 12 頁小冊) ／ Streaming ／ Hi-Res
- Released發行
- 2026-09-21
A bass balalaika turns up on the twelfth track and a Farfisa organ on the eleventh, inside what is nominally a Satie record, and the credit line explains the licence: "Music by Erik Satie and Danilo Gallo." Satie is a collaborator here, not a composer being covered, which is why the "Gnossienne No. 1" and the first Gymnopédie are set against Gallo's own "Pièces Froides" rather than used as framing. The trio is double bass, piano with modular synth, and drums; Vincenzo De Leo works a tape echo on one track. They cut the whole thing in a single day, 7 January 2026, at Abbey Rocchi in Rome, mixed outside Milan and mastered in Verona. Four people wrote separate liner notes for it: Jim Black, Uri Caine, Rob Mazurek, Wayne Horvitz. 作曲署名寫得很直接：「Music by Erik Satie and Danilo Gallo」，Satie 被當成合作者，不是被翻奏的對象。所以〈Gnossienne No. 1〉與〈Gymnopédie No. 1〉是和 Gallo 自己的〈Pièces Froides〉系列並置的，而不是夾在中間當引子。編制是低音提琴、鋼琴加模組合成器、鼓，另有 bass balalaika 與 Farfisa 風琴各出現一次。2026 年 1 月 7 日在羅馬 Abbey Rocchi Studios 一天錄完，混音在米蘭近郊，母帶在維洛納。內頁請了四個人各寫一段 liner notes：Jim Black、Uri Caine、Rob Mazurek、Wayne Horvitz。四個人替一張三人編制的碟寫序，比例有點誇張。
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