Daily Drops · Vol.178每日唱片 · Vol.178
He cut the vocals first, with no click, and let the band catch up. 他聽到的是七成，剩下三成是別人替他聽完的
Todd Snider — My Second Rodeo
- Genre類型
- Country · Americana · Talking Blues
- Label廠牌
- Aimless Records（Snider 自有廠牌），Thirty Tigers 發行代理；目錄號 未找到；UPC 820233955249
- Format介質
- Vinyl · CD · Streaming
- Released發行
- 2026-10-09
The method came first and the eulogy had to be built on top of it. Joe Bisirri, who produced and engineered, says Snider insisted on cutting vocals and guitar with no accompaniment and no click, so that the band would have to come in behind him and follow a guitar that drifts. They worked through September and October of 2025 at the Purple Building, Snider's own room in Nashville. He died that November, of pneumonia, after being beaten and robbed at a Salt Lake City venue where he had been booked to play. Bisirri reckons Snider heard the record at roughly seventy percent; he and Robbie Crowell assembled the remainder from voice memos, emails and demos. One song, "(I Got That) Déjà Vu," is an old co-write with Billy Joe Shaver, who has been gone since 2020, which leaves a credit shared by two dead men and completed by two living ones. Both reviews that matter picked the opener, "Freewheelin' (Every Day at a Time)" — Nancy Posey in No Depression for the way a plain guitar lick and a tired voice give way to brass that starts mournful and ends up crowded, and Eric R. Danton in Paste for much the same reason, though he notes the beat wanders. Danton is otherwise unsparing: he hears drafts rather than songs, the same guitar shuffle recycled across three of them, and a record that lands nearer folk than the country-music-ten-years-from-now Snider promised. He is right, and so is she. The release date fell two days short of Snider's sixtieth birthday; Nashville named a street for him in the same stretch of weeks. 他的錄音方法本身就交代了這張碟後來為什麼還能做下去。製作人 Joe Bisirri 說，Snider 堅持先把人聲和吉他錄完，不要伴奏，也不打節拍器；樂隊得排在他之後進棚，跟著他那把會跑速的吉他補。2025 年九、十月，地點是他自己在 Nashville 的工作室 the Purple Building。他十一月過世，死因是肺炎，此前在鹽湖城一個他原定演出的場地遭人毆打與搶劫。Bisirri 的說法是，Snider 聽到的大約是七成；剩下的由他與共同製作人 Robbie Crowell 依著語音備忘錄、郵件和 demo 做完。〈(I Got That) Déjà Vu〉是他多年前與 Billy Joe Shaver 合寫的舊稿，而 Shaver 2020 年就已不在：一首由兩位亡者署名的歌，由兩個活人補上結尾。開場〈Freewheelin' (Every Day at a Time)〉是兩篇樂評共同挑中的一首：No Depression 的 Nancy Posey 寫它從一段簡單的吉他 lick 和他疲憊的嗓音進來，背景帶著街聲，銅管先是哀悼式的，後面愈吹愈滿，和聲疊到近乎合唱團；Paste 的 Eric R. Danton 同樣看重它，但他也指出拍子有點遊走，那正是前面那套錄音順序的聽覺結果。Danton 整篇是不客氣的：他認為多數歌還停在需要打磨的草稿階段，〈Solid Country Gold〉缺了 Snider 最好時候的火花，而同一個吉他 shuffle 在三首歌裡重複，聽久了發悶；他還說這張碟的落點其實偏民謠，和 Snider 生前自稱「十年後的鄉村樂」那個說法對不上。我覺得兩邊都成立。上架那天距他六十歲生日差兩天，Nashville 同期把一條街以他命名。
Hump Back — やわらかな洞窟
- Genre類型
- Japanese Indie Rock · Power Pop · Alternative Rock
- Label廠牌
- Echoes／Sony Music Entertainment (Japan)；品番 XSCL-149；UPC 4573623373890
- Format介質
- CD（通常盤，特製スリーブケース仕様）· Streaming
- Released發行
- 2026-10-14
The copyright line on this one is split, which is how you find the story. Everything belongs to Sony Music Entertainment (Japan) except the seventh song, which belongs to TV TOKYO Music, because Hayashi Momoko wrote it as the April "tsukiuta" — song of the month — for シナぷしゅ, the only Japanese television programme made for children from the age of zero. The trio stopped touring in 2023 for maternity leave, announced in 2024 that all three of them had given birth, and returned that December. A year on, they have handed in a song for an audience that cannot yet talk. The opener began life as a railway commercial and was rewritten for the record; nothing at all has been published about who produced it. Apple 的版權行把這張碟切成兩半：第一到六軌和第八軌是 Sony Music Entertainment (Japan)，第七軌卻掛著 TV TOKYO Music。那一軌〈あいとロッケンロール〉是林萌々子為テレビ東京《シナぷしゅ》2026 年四月寫的「つきうた」——月歌——而《シナぷしゅ》是日本唯一的零歲起嬰幼兒向教育節目。這條線值得多想一層：2023 年七月，樂隊為成員產假停掉所有現場活動並取消既定場次；2024 年五月她們在自家 YouTube 電臺宣佈三個人全部生產；年底才在心斎橋 BRONZE 復歸。隔一年，她們交出一首給零歲聽眾的歌。開場〈あの街まで〉原本是 JR 東海「好きが彩る」的廣告曲，進這張時歌詞被重寫過；〈Gurled〉此前只在五月大阪城ホール那場的會場賣過。這是她們移籍 Echoes 之後的第一張作品，移籍八月十四日才公佈。製作班底官方一個字沒給，只能等實體內頁。
Marina Herlop — Dja Dja
- Genre類型
- Electronic · Experimental · Art Pop
- Label廠牌
- **自主發行**（她生涯第一張自主發行作品；此前兩張在 PAN）。目錄號 無；Apple ℗ 行為 ℗ 2026 Marina Herlop，**實體發行商未公開**
- Format介質
- Vinyl · CD · Streaming
- Released發行
- 2026-10-09
There is a cardboard chart on the wall of her home studio with the harmony, instrumentation, tempo and metre of the whole album drawn on it by hand, which she describes as a giant sudoku. The instrumental core she built alone; the orchestral low end and the gamelan came afterwards, and the gamelan she went to Bali to record with players there rather than reaching for a library. It is her first self-released album after two on PAN, with Adri González brought in as what she calls a score doctor and appearing as a guest on "Vas volant." April Clare Welsh, writing for Bandcamp Daily, hears that track as the lightest thing here — slap bass, arpeggios, a trembling Mellotron — and "As meigas" as a voice broken into glassy shards. 她家工作室的牆上貼著一張紙板圖表，和聲、配器、速度、拍號全手繪在上頭。她自己把這張碟叫作「一個巨大的數獨」。核心器樂由她一個人在家鋪完，之後才疊上管絃低音和甘美朗——甘美朗是她飛到峇裡島、跟當地樂手現場錄的，沒有動用任何採樣庫。這是她離開 PAN 之後第一張自主發行的專輯，老搭檔 Adri González 被她請來當「score doctor」，在結構、音色和混音上出意見，並以客席身分出現在〈Vas volant〉裡。Bandcamp Daily 的 April Clare Welsh 寫〈Vas volant〉是全碟最輕的一處，slap bass、琶音和一臺發顫的 Mellotron；〈As meigas〉的人聲被切成玻璃質的碎片；〈ツラ〉用鳥鳴和合成音設計編出一個仿生生態系。
Richard Cook & St Edmundsbury Cathedral Choir — Marcel Dupré: Organ and Choral Works
- Genre類型
- Organ · Sacred Choral · French Romantic
- Label廠牌
- Regent Records；目錄號 REGCD604
- Format介質
- CD（1 disc）· Streaming · Hi-Res 下載
- Released發行
- 2026-10-09
Dupré's Symphonie-Passion began as an improvisation: in 1921, at a recital on the Wanamaker organ in Philadelphia, he was handed four liturgical chants by the audience and extemporised a symphony in four movements on them, publishing it three years later. The sensible thing to do with that provenance is what this recording does, which is to make the choir sing each chant immediately before the movement built on it, so that the borrowing is audible rather than merely documented. The instrument is worth a paragraph of its own: Harrison & Harrison, new in 2010, with forty-eight wooden pipes surviving from the organ of 1760 and a good two thousand more inherited from its later rebuilds. It is Cook's first solo organ record, and the first anything by this choir under Claudia Grinnell, who arrived in 2024 as the cathedral's first woman director of music. 這臺琴 2010 年新造，裡面還留著 1760 年那架的四十八根木管。Harrison & Harrison 做的，三千五百五十三根管裡有兩千零三十六根沿用舊琴，Advent Sunday 第一次發聲。內頁把整條譜系排得很細：1864 年 J W Walker 重建留下 Oboe 和 Clarinet，1914 年 Norman & Beard 的新琴留下 Cornopean 和 Viole d'Orchestre，1970 年 Nicholson 又改過一輪。選曲的主角《Symphonie-Passion》也不是寫出來的：1921 年 Dupré 在費城華納梅克百貨公司的管風琴上開獨奏會，當場收到觀眾遞上的四段禮儀聖詠，即興出一首四樂章交響曲，三年後才整理出版。這一版的編排不把四個樂章連著彈，而在每個樂章前讓唱詩班先唱出該樂章所據的那段聖詠。對 Richard Cook 來說這是第一張獨奏管風琴錄音——他 2019 年起任這座堂的助理音樂總監，2020 年代理總監那十個月裡創建了座堂的女童唱詩班；對 Claudia Grinnell 來說，這是她帶領這個唱詩班的第一張錄音，她 2024 年九月到任，是這座堂史上第一位女性音樂總監。錄音 2025 年十月二日到五日在座堂內完成。
Jeremiah Chiu — Edge Conditions
- Genre類型
- Electronic · Experimental · Ambient
- Label廠牌
- International Anthem；目錄號 IARC0115
- Format介質
- Vinyl · CD · Streaming
- Released發行
- 2026-10-09
The title is a term of art from architecture — the boundary or transition zone between two materials or states — and Chiu applies it to personnel as well as to sound. Marquis Hill on trumpet, Patrick Shiroishi on saxophone and Will Miller on EVI all appear on the title track, and the credits append the word "processed" to each of them. They were hired to be material, not to solo. John-Paul Shiver, in Treble, describes that track as echo and reflection first, the horns stacked into something close to a choir, then smeared into synthesiser; the closer runs a breakbeat under a rolling 808 and an acid bassline pushed to the front. 碟名取自建築術語。他自己的解釋是：edge conditions 指兩個區域、材料或狀態之間的邊界、介面與過渡帶；他說做這張碟的過程也像一種被環境限制框住的實踐。這個設定直接反映在他怎麼用人：Marquis Hill 的小號、Patrick Shiroishi 的薩克斯、Will Miller 的 EVI 都出現在標題曲裡，而 credits 在三個人後面一律加註 processed。他把爵士樂手請來當素材源，而不是請來吹獨奏。寫作與錄音集中在 2026 年二月到三月。Treble 的 John-Paul Shiver 寫標題曲先是回聲與反射，小號和薩克斯被疊成一個近似合唱的聲層，之後崩成被塗抹的合成器質地；終曲〈Night Fog〉是 breakbeat 律動加滾動的 808 和前置的 acid bassline。
SPIKE FUCK — evidence
- Genre類型
- Post-Punk · Glam Rock · Country-Punk
- Label廠牌
- Sacred Bones Records；目錄號 未找到；EAN 0840526512263
- Format介質
- Vinyl · CD · Streaming
- Released發行
- 2026-10-02
The influences listed in the signing announcement run Pere Ubu, the New York Dolls, the Temptations, Bettye Swann, and then The Anarchist Cookbook of 1971. Odder still is the producer: Adam Hyde, half of the Australian dance duo Peking Duk. This is a first studio album a decade after an EP, made in three months by a man who had not picked up a guitar in three years and whose comeback show in Melbourne sold out in minutes. J. Edward Keyes notes that the opener lifts the backbeat of "Just Like Honey" wholesale and puts a thick bass under it. 簽約公告上的靈感清單寫了 Pere Ubu、New York Dolls、The Temptations、Bettye Swann，然後是一本 1971 年的《Anarchist Cookbook》。製作人更意外：Adam Hyde，澳洲電子二人組 Peking Duk 的一半，拿過 ARIA 與 APRA 的那個人。這是他的第一張錄音室專輯，距 2016 年那張《The Smackwave EP》整十年；中間他父親過世、入院、長期退場，三年沒碰吉他，復出第一場在墨爾本 Carlton 的 John Curtin Hotel 幾分鐘賣光。寫加錄只花三個月。Bandcamp Daily 的 J. Edward Keyes 說開場〈Can't Get It Up〉把 The Jesus and Mary Chain〈Just Like Honey〉那個反拍直接搬來、底下壓一條厚貝斯線，〈Sweet Release〉裡有一段福音式合唱。他另外提了一句反差：這個藝名聽起來像 d-beat 硬核，音樂完全不是那回事。
Brody Price — Leaf Miner's Daughter
- Genre類型
- Alt-Country · Americana · Noise Rock
- Label廠牌
- Gar Hole Records（Fayetteville, Arkansas 的獨立廠牌）；目錄號 未找到；UPC 634457245259
- Format介質
- Streaming · Hi-Res（Qobuz 24-Bit/96 kHz）。**實體版未查到**：Bandcamp 頁無黑膠／CD／卡帶選項，廠牌店與各零售站均無本作實體條目
- Released發行
- 2026-10-09
Every song is set within a five-mile radius of his front door in Oak Cliff, Dallas, which is a constraint you would expect to produce something small and instead produces something claustrophobic. The interludes are his own phone recordings. He wrote the songs while drinking and arrives at the release sober by thirteen months. Corbie Hill, in No Depression, picks "Nightmares," sitting dead centre and built on fingerpicked guitar, as the gentle thing on a turbulent record; the rest he hears as feedback, distortion, sludge in places and abrasion in others. 每首歌的場景都設在他達拉斯 Oak Cliff 家門口五英里半徑之內。器樂段落裡埋的是他自己真實的通話錄音和媒體片段，不是採樣素材。歌寫在酗酒最深的時候，發碟那天他已戒酒十三個月。編制值得一提：Marshall Pruitt 同時是和聲、貝斯、鋼琴、baritone guitar，還兼錄音與混音工程師。No Depression 的 Corbie Hill 說〈Nightmares〉落在正中間、建立在指彈吉他上，是這張動盪唱片裡溫柔而微小的一首；整體則有回授與失真，有些地方泥濁、有些地方刺耳。
The Sixteen & Harry Christophers — Palestrina: Song of Songs
- Genre類型
- Renaissance · Sacred Choral · Early Music
- Label廠牌
- Coro；目錄號 COR16223
- Format介質
- CD（2 discs，Brilliant Case）· Streaming · FLAC／ALAC Hi-Res 下載
- Released發行
- 2026-10-02
Palestrina dedicated these settings to Gregory XIII in 1584 and used the preface to repent of the secular madrigals of his youth, having just set the most erotic book in the Bible and reordered it for dramatic effect. What arrives now is not a new session but a gathering: recordings made between 2011 and 2025 across nine volumes, assembled at last into one sequence, with the twenty-eighth and twenty-ninth motets published here for the first time. Biberfan, who has read the booklet, gives it four stars for blend and modal colour while admitting the text and the counterpoint are hard to follow, and still prefers the Hilliard Ensemble for clarity. I have no grounds to argue; I will find the score and listen twice more before I do. 1584 年 Palestrina 把這套雅歌經文歌獻給教宗 Gregory XIII，並在序裡把它當成對自己早年寫世俗牧歌的悔過——他明知自己在給情歌配聖樂，仍堅持稱之為神聖作品。二十九首全出自《雅歌》，順序卻由他重排過。這張碟的性質要說清楚：它把 2011 到 2025 年之間散落在九卷 Palestrina 系列裡的錄音併成一套，第二十八與二十九首是首次發表，其餘二十七首此前每卷三首地分散著。讀內頁的 biberfan 給四星，說混聲融合度高、適合聽織體與調式，但要跟譜、聽清文本與對位比較吃力，建議配譜與耳機；他拿 Hilliard Ensemble、Pro Cantione Antiqua 和 Tallis Scholars 做對比，最後仍偏好 Hilliard 的文本清晰度。這一點我沒有立場反駁，先把譜找出來再聽兩遍再說。
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