Daily Drops · Vol.179每日唱片 · Vol.179
A Swede who built a career on American folk went home for the polska. 三部協奏曲，都是獨奏者自己找上作曲家的
Vanishing Twin — Archives
- Genre類型
- Experimental Pop · Post-Punk · Avant-Pop
- Label廠牌
- Fire Records；目錄號 未找到；UPC 809236006127
- Format介質
- Vinyl · CD · Streaming
- Released發行
- 2026-10-02
The band started in 2015 as a five-piece. It is three people now, and they no longer live in the same country: Cathy Lucas works from a home studio in rural France, while Valentina Magaletti and Susumu Mukai work from a studio on a boat in London. Rather than treat the distance as an obstacle to be engineered around, they made it the method. Each day they traded the fragments they had recorded; the next day they took the previous day's material apart, swapped instruments, and wrote over each other's work until the question of who had played what stopped having an answer. The title refers to the procedure, not the material, which is the small joke of a record assembled by overwriting its own files every morning and then named after an archive. The closing track is "Oral Tradition": a thing that survives by being misremembered, set at the end of a record called Archives. The Quietus made it Album of the Week on the first of October; Bandcamp Daily gave it Album of the Day the same week. I have not seen the full text of either, so I will not borrow their verdicts. The method alone explains the sensation of someone revising their mind directly into your ear. 這支樂團 2015 年以五人編制起家，現在只剩三個人，而且散在兩個國家：Cathy Lucas 在法國鄉間一間家庭工作室，Valentina Magaletti 與 Susumu Mukai 在倫敦一條船上的工作室。他們沒有把這件事當成障礙去克服，而是把它直接變成工法：每天互傳當天錄下的片段，隔天再回頭把前一天的素材拆開、重組、覆寫，成員之間互換樂器，誰寫了哪一句被刻意溶掉。《Archives》這個名字指的是這套方法。一張靠「每天把檔案改掉」做出來的碟，最後取名叫檔案庫。把手邊的東西當錄音設備，他們早就做過：《Choose Your Own Adventure》用過自製電子裝置，《The Age of Immunology》收過 iPhone 錄下的聲音，只是這次被拿來當素材的是他們自己前一天的工作。收尾那一軌叫〈Oral Tradition〉，口頭傳統：一個靠轉述、靠記錯、靠每次複誦都變一點點而存活的東西，被放在一張叫檔案庫的碟最後面。The Quietus 這週把它選成 Album of the Week（Will Ainsley，10 月 1 日），Bandcamp Daily 同週給了 Album of the Day。我手上拿不到那篇評論的全文，所以不替它說話；但光是「互毀互建」這條工法，已經夠解釋為什麼聽起來像有人一直在你耳邊改主意。
The Tallest Man On Earth — Just Beyond Endless Mountain
- Genre類型
- Folk · Singer-Songwriter
- Label廠牌
- ANTI- Records；目錄號 未找到；UPC 45778817269
- Format介質
- Vinyl · CD · Streaming
- Released發行
- 2026-10-09
Kristian Matsson is a Swede who built a career on American folk — twenty years of touring under this name, a high voice, an acoustic guitar, Dylan's long shadow. The occasion for this record is that he went home, to Dalarna in central Sweden, and then went back through the local material he had spent that whole career avoiding: polska, old field recordings, the folk customs he grew up near and declined to use. The direction matters. These are not childhood possessions reclaimed; they are things he kept at arm's length until now. He recorded to reel-to-reel to keep the grain of Swedish field tape, and plays most of the instruments himself. On "Overboda" the Swedish musician Sofia HK sings opposite him, and the two voices open out further than anything else here. His father died in 2024 after years with Alzheimer's; John Murphy at musicOMH reads both the move and the record in that light, and gives it three out of five. The cover portrait is by Anton Corbijn. Kristian Matsson 用這個名字巡演了將近二十年，整個職業生涯建立在一種很美式的民謠身段上：空心吉他、高音域、Dylan 的影子。這張碟的來歷是他搬回了瑞典中部的故鄉 Dalarna，然後回頭去翻他長年刻意繞開的東西：polska、舊的田野錄音、童年在當地聽過的民俗傳統。方向值得留意。這些不是他從小就在彈、現在重新擁抱的家當，而是他過去一直避著不碰、繞了二十年才願意回去看的。整張用盤式錄音機錄，為的是留住瑞典田野錄音的質地，樂器多半由他自己彈；〈Overboda〉請了瑞典樂手 Sofia HK 對唱，是全碟最舒展的一處。他父親 2024 年在多年阿茲海默症之後過世，musicOMH 的 John Murphy 把搬家與這張碟都放在那件事之後讀。那篇只給了 3/5，也沒把它當成他的高點。封面肖像是 Anton Corbijn 拍的。
Emily A. Sprague — Cyano
- Genre類型
- Ambient · Modular Synth · Experimental
- Label廠牌
- RVNG Intl.；目錄號 RVNGNL64LP
- Format介質
- Vinyl · CD · Streaming
- Released發行
- 2026-10-02
It begins with nineteenth-century photographs: Anna Atkins's cyanotypes, seaweed and flowers pressed into Prussian-blue silhouette. From those images Sprague imagined a planet called Cyano whose inhabitants are rebuilding a prohibited capacity — expression, and emotional connection. That is as far as the premise goes on the record's own authority, so that is where I will leave it. The constraint she set herself is strict: everything you hear is synthesised, with no samples and no acoustic instruments anywhere. And then the surprise, which is that she sings. Water Memory, Mount Vision, Hill, Flower, Fog and Cloud Time were instrumental; the voice is the first foreign body to enter her solo work, and it enters a room where even a guitar would be contraband. Khotin closes things out with a remix of "Sing To." 起點是一批十九世紀的照片。植物學家兼攝影家 Anna Atkins 的氰版藍曬作品，那種把海藻與花卉壓成普魯士藍剪影的東西；Sprague 從那批影像裡想出一顆叫 Cyano 的星球，上面的居民正在重建一種被禁止的能力：表達，以及情感上的連接。設定到這裡為止，再往下推就是我自己編的，所以就停在這。做法上她給自己設了一道限制：全碟聲音都是合成的，沒有採樣，也沒有任何原聲樂器。然後是這張碟真正的意外。她唱了。《Water Memory》《Mount Vision》《Hill, Flower, Fog》《Cloud Time》一路下來都是器樂，人聲在她的 solo 作品裡是第一次進來的那個異質體，而它要進的是一個連原聲樂器都不準待的房間。收尾那一軌是 Khotin 替〈Sing To〉做的重混。
Fatma Said — The Pyramids Recital
- Genre類型
- Vocal Recital · Opera Arias · Arabic Song
- Label廠牌
- Warner Classics；目錄號 未找到；數字版條碼 5026854617534
- Format介質
- Streaming
- Released發行
- 2026-10-09
A recital can be held in any hall. She held hers out in the desert at Giza with Khufu, Khafre and Menkaure standing behind the players, and says the acoustics there resembled nothing she had worked in before. The ensemble is a hybrid: Les Frivolités parisiennes under Sammy El Ghadab, plus an Arabic takht — Mohamed El Said on oud, Mohamed Ahmed on ney, Hani El Sawaf on darbuka, Thibaut Maudry on violin. The programme runs across Arabic, French, German, Italian and Spanish, setting "Helwa ya baladi" and Fairouz's "Aatini Al Naya Wa Ghanni" alongside Puccini, Mozart, Handel, Strauss, Piaf and Piazzolla's "Yo Soy María." The recording date comes in two versions — her site says autumn 2025 at sunset, Presto says December — and I am not going to adjudicate. No signed review exists yet, so I can only report the structure and listen again. 獨唱會可以辦在任何一間音樂廳，她把它辦在吉薩的沙漠裡，胡夫、哈夫拉、孟卡拉三座金字塔就在演奏者背後。她自己的說法是那個場地的聲學跟她待過的任何場地都不一樣。編制也沒走正規路線：Les Frivolités parisiennes 由 Sammy El Ghadab 指揮，另加一組阿拉伯 takht——Mohamed El Said 的 oud、Mohamed Ahmed 的 ney、Hani El Sawaf 的 darbuka、Thibaut Maudry 的小提琴。曲目表橫跨阿拉伯語、法語、德語、義語、西語：Dalida 唱紅的〈Helwa ya baladi〉、Fairouz 的〈Aatini Al Naya Wa Ghanni〉、Mohammed Abdel Wahab 的〈La mosh ana-l-abki〉，和普契尼、莫札特、韓德爾、聖桑、馬斯卡尼、理查・史特勞斯、Piaf〈La Vie en rose〉、皮亞佐拉〈Yo Soy María〉排在一起。錄製時間有兩個版本：藝人官網寫 2025 年秋日落時分，Presto 10/9 那期寫 2025 年十二月，我兩邊都記下來，不替它們決定。截稿時找不到任何一篇署名樂評，所以這張我只能交代到結構為止：沙漠、混班、五種語言。聽過再說。
BODEGA — All Inside Aquarium
- Genre類型
- Post-Punk · Indie Rock
- Label廠牌
- Chrysalis Records；目錄號 未找到；UPC 0840401724231
- Format介質
- Vinyl · CD · Streaming
- Released發行
- 2026-10-09
Their fourth, and the first they did not make in New York. The songs were written at home in Brooklyn; then the whole band flew to Leeds, for one reason, which was Matt Peel. The room is Peel's own the Nave, built inside a deconsecrated church. They worked in two long stretches, winter and summer, in what turned out to be the wrong order: Ben Hozie's account is that the summer-party songs were mostly cut in the winter, and the introspective slow material was left for the summer. The five of them also lived away from home together for the first time on a record. The writing drops the lecturing social criticism for psychology, with a stated aim of making proper rock without the qualifier indie attached. There is a Bob Dylan cover, "Slow Train." Reuben Cross reviewed it for Far Out on the ninth and came down on the positive side. 第四張，也是他們第一張不在紐約錄的。歌全在紐約寫完，然後整團飛去英國利茲，理由很單純：他們要 Matt Peel。棚是 Peel 自己的 the Nave，建在一座廢棄教堂裡。進棚分成冬、夏兩段，而順序是反的——Ben Hozie 的說法大意是，好笑的地方在於那些夏日狂歡型的曲子大多是冬天錄的，內省的慢歌反而留到了夏天。五個人為這張第一次集體離家同住一段時間，這在他們之前任何一張上都沒發生過。寫作上他們把說教式的社會批判收掉，改寫心理，目標說得很直白：做一張不帶 indie 這個修飾語的 proper rock。曲目裡收了一首 Bob Dylan 的〈Slow Train〉。Far Out 的 Reuben Cross 10 月 9 日出了署名評論，結論偏正面。
Michala Petri & Kremerata Baltica — Transfigurations
- Genre類型
- Contemporary Classical · Concerto · Recorder
- Label廠牌
- OUR Recordings；目錄號 8226937
- Format介質
- CD · Hi-Res · Streaming
- Released發行
- 2026-10-09
Most contemporary concertos go to violinists and pianists. This record hands three to instruments that rarely get one: recorder, positive organ, harpsichord. Better still is where the three Poul Ruders works came from, which is the players. Petri commissioned the title piece herself in 2022 for her and Kremerata Baltica; A Movable Concerto (2023) began as a suggestion from Peter Navarro-Alonso, organist and choirmaster at Vor Frelsers Kirke in Copenhagen; the 2019 harpsichord concerto was written for Mahan Esfahani. On the question of who drives a commission, this is an unusually clear answer. The title piece also asks its soloist to climb the entire recorder family mid-performance, from tenor up to sopranino and back down. The harpsichord concerto was premiered by the Aarhus Symphony Orchestra under Leif Segerstam, whom the label page calls the late conductor. Colin Clarke gave it five stars in Fanfare. 當代協奏曲的席位大多給小提琴和鋼琴。這張碟一次放進三件排不上號的樂器：豎笛、正音管風琴、大鍵琴。更值得記一筆的是這三部 Poul Ruders 作品的來歷：三次都是樂手自己去找作曲家的。標題曲《Transfigurations》（2022）由 Petri 本人委約，寫給她和 Kremerata Baltica；《A Movable Concerto》（2023）起於哥本哈根 Vor Frelsers Kirke 的管風琴師兼唱詩班指揮 Peter Navarro-Alonso 的提議；大鍵琴協奏曲（2019）寫給 Mahan Esfahani。委約這件事的主導權在誰手上，這裡有個很清楚的答案。標題曲還要求獨奏者在演奏過程中換遍整個豎笛家族，從次中音一路升到最高音的 sopranino 再降回來。大鍵琴協奏曲的首演由 Aarhus Symphony Orchestra 在 Leif Segerstam 棒下完成，廠牌頁以「late conductor」稱他。Fanfare 的 Colin Clarke 給了五星。
Teenage Fanclub — Do Not Dare To Dream
- Genre類型
- Indie Rock · Power Pop
- Label廠牌
- Merge Records；目錄號 MRG892
- Format介質
- Vinyl · CD · Cassette · Streaming
- Released發行
- 2026-10-09
Their thirteenth, cut at Black Bay Studios on Great Bernera, out in the islands off Scotland, with sea and prehistoric remains outside; they call it the most remote room they have used. A Domus church organ was already standing there, so they played it, and it is audible throughout, with assorted synthesisers underneath. The title comes from "I Do Not Dare To Dream": Norman Blake finds the whole dare-to-dream register hollow, says roughly that such talk is faintly absurd, and so made it the marquee. Raymond McGinley offers that life is short and music eternal. Since Gerard Love left eight years ago, Blake and McGinley split the writing and the singing down the middle. Three out of five from John Murphy at musicOMH. 第 13 張，錄在蘇格蘭外海 Great Bernera 島上的 Black Bay Studios，四周是海與古代遺跡，他們說這是用過最偏遠的棚。棚裡原本就擺著一臺 Domus 教堂風琴，他們就用了，整張都聽得見它，底下再鋪各式合成器。專輯名來自曲目〈I Do Not Dare To Dream〉：Norman Blake 覺得「勇敢做夢」這類勵志口號空洞，大意是那種講法有點荒謬，於是乾脆拿它當標題。Raymond McGinley 另有一句大意是人生很短而音樂永恆；Blake 談樂團壽命時說的是你就這樣從一件事滑進下一件事，還沒反應過來三十年就過去了。Gerard Love 八年前離團之後，詞曲與主唱由 Blake 與 McGinley 對半分，現編制裡 Euros Childs、Francis Macdonald、David McGowan 都在。musicOMH 的 John Murphy 給 3/5。
溫室雜草（Easy Weeds） — 衝突的意義
- Genre類型
- Taiwanese Indie Rock · Alternative Rock
- Label廠牌
- WiFi Music Limited；品番 未找到；條碼 4711510319013
- Format介質
- Streaming
- Released發行
- 2026-09-29
A second album, cut at the Yucheng Theatre studio in Taipei. The producer, Yang Shih-hsuan, had scheduled two songs for the night and was still on the first at ten. "泥巴" was written by the singer, A-J, for a friend who had died. Asked about the title, he reached for Naruto and Attack on Titan: conflict cannot be avoided, but it leaves seeds behind. 第二張專輯，全碟在玉成戲院錄音室錄完。製作人楊世暄原本排一晚收兩首，到晚上十點還卡在第一首。〈泥巴〉是主唱阿J寫給一位過世的好友的。他解釋專輯名的時候舉的例子是《火影忍者》和《進擊的巨人》：衝突躲不掉，但衝突會留下種子。吉他手聖豐去年才正式入團，團長誇他，他回說其他人相比之下只有練習生等級。
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