Daily Drops · Vol.182每日唱片 · Vol.182
The first war's songs have names. The second war's do not. 1762 年首演之後，這部歌劇消失了兩百多年
Geography of Hell — Baghdad 1991 / Baghdad 2003
- Genre類型
- Industrial · Death Industrial · Dark Ambient
- Label廠牌
- Hospital Productions；目錄號 查無
- Format介質
- Vinyl · CD
- Released發行
- 2026-10-02
The release is an LP and a CD, and each disc takes one of the two wars. On the LP, which is Baghdad 1991, every piece carries a title: Death Highway is the massacre on Route 80, and it sits alongside Target Removal Rite and Welcome To Your Future. Flip to the CD, which is Baghdad 2003, and the titles stop. Nothing on that side is named at all. The source material is entirely archival — camcorder footage shot by American soldiers, period broadcast television, and sermons recorded off American televangelists in 1991 — fed into mechanical loops, with the chorus from Verdi's Aida broken up and returning across both discs like a refrain that nobody asked for. The collective is anonymous; its agency will say only that it is international, which means there is no interview to quote and no producer to credit. What can be traced is method. For Verdun, 1916 in 2022 they went to the old battlefield, recorded it, and built metal percussion out of shrapnel and helmets they picked up there. That record was dug out of the ground. This one is dug out of a filing cabinet. J. Edward Keyes picked it for Bandcamp Daily's Essential Releases on 16 October. 一張黑膠配一張 CD，黑膠那面叫《Baghdad 1991》，處理第一次波灣戰爭，曲子一首一首都取了名字：〈Death Highway〉指的就是八十號公路上那場屠殺，另外還有〈Target Removal Rite〉與〈Welcome To Your Future〉。CD 那面叫《Baghdad 2003》，處理第二次伊拉克戰爭，從頭到尾無題。素材全部來自檔案——美軍士兵自己拿攝影機拍的帶子、當年的電視轉播、以及一九九一年美國電視佈道家的講道錄音，被剪進機械式的循環節拍裡；Verdi《Aida》的合唱被拆開，隔一陣子就回來一次，當成全片反覆出現的副歌。這個團刻意匿名，經紀方只說是一個跨國的集體，連成員是誰都不公開，所以沒有訪談可查、沒有製作人名單可看，唯一能追的是方法本身。二〇二二年那張《Verdun, 1916》他們直接到凡爾登的舊戰場做田野錄音，並且用在戰場上撿回來的彈片與頭盔自製金屬打擊樂器。那一次是去地上挖，這一次改成在檔案堆裡挖。Bandcamp Daily 的 J. Edward Keyes 把它選進十月十六日那期 Essential Releases。
Sadurn — The Underworld
- Genre類型
- Indie Folk · Slowcore · Singer-Songwriter
- Label廠牌
- Run For Cover Records；目錄號 **RFC289**
- Format介質
- CD · Streaming
- Released發行
- 2026-10-16
G DeGroot has been plain about the circumstances: chronic pain, trouble with her voice, gut problems, a stretch when singing was not available to her. Her own phrasing is that everything felt urgent and her body was refusing. Four years have passed since Radiator, with one single in the gap. Every title on the record is lowercase, and it runs from the weight to only angels. No producer, no studio, no dates, no full line-up: the label has published none of it, which leaves the songs and that one account of how they got made. Nobody has reviewed it under a byline yet. G DeGroot 在發片說明裡把狀況講得很白：慢性疼痛、聲帶出問題、腸胃也不行，一度唱不了歌。她的說法是當時覺得非把事情推下去不可，身體卻在說不。距離二〇二二年的首張《Radiator》整整四年，中間只放過一支單曲〈The Old Black Hen〉。曲名全部小寫，從〈the weight〉開到〈only angels〉。製作人、錄音室、錄音日期，官方一欄都沒給，完整團員名單也查不到，所以這張能寫的素材其實只有上面這一段，以及她自己挑的那些題目。沒有署名樂評。
Le Poème Harmonique, Vincent Dumestre — Galuppi: L'uomo femina
- Genre類型
- Opera · Early Music · Baroque
- Label廠牌
- Château de Versailles Spectacles
- Format介質
- CD · Streaming · Hi-Res
- Released發行
- 2026-10-16
Two men from a patriarchal society are shipwrecked on a Mediterranean island governed by Princess Cretidea, where the women are the soldiers and the men are expected to be decorative. That is the premise of a comedy first staged at the Teatro San Moisè in Venice in 1762, after which the score went missing until 2006 and the piece waited until December 2024 to be performed again. The staging was directed by Agnès Jaoui, the film director, who is not an opera professional and who had already done a Tosca at Versailles in 2019. The production won the rediscovered-work category at the International Opera Awards in Athens last November, chosen from more than fourteen thousand nominations across twenty-five countries. The libretto is by Pietro Chiari, Goldoni's rival, which explains some of its edge. One caveat: the only signed review I can find is OperaWire's, and it covers the staging, not this recording. Dumestre is credited with additions and arrangements, so it is not a clean urtext either. 這部戲一七六二年在威尼斯的 Teatro San Moisè 首演，然後消失，樂譜二〇〇六年才被重新找到，二〇二四年十二月才第一次重新站上舞臺。最有意思的一步棋在導演人選：Agnès Jaoui 是拍電影的，《Le Goût des autres》的導演兼編劇兼演員，不是歌劇科班出身，而她二〇一九年已經在凡爾賽導過一次《Tosca》。劇情是兩個從父權社會出來的男人船難漂到一座地中海島上，島上由 Cretidea 公主統治，女人是戰士，男人被要求愛美而且具裝飾性；結局秩序被復原了，但 OperaWire 的評論者認為那個結局刻意留著曖昧。腳本作者 Pietro Chiari 是 Goldoni 在威尼斯的頭號對手，這大概能解釋為什麼這個本子比一般的喜歌劇腳本更利。這個製作後來拿下第十二屆國際歌劇大獎的「重現作品」獎，二〇二五年十一月在雅典頒給 Opéra de Dijon，從二十五國一萬四千多件提名裡選出來。唱片錄於凡爾賽宮的 Opéra Royal。要提醒一句：OperaWire 那篇署名評論評的是二〇二四年的舞臺製作，不是這張唱片；唱片本身目前沒有任何署名樂評。另外 Dumestre 在節目單上掛的頭銜包含「增補與改編」，所以這不是一次乾淨的原典演出。
Patricia Kopatchinskaja & Fazıl Say — Patkop & Say
- Genre類型
- Classical · Chamber · Contemporary Classical
- Label廠牌
- Alpha Classics（ALPHA1278）；℗ 2026 ALPHA CLASSICS / OUTHERE MUSIC FRANCE
- Format介質
- CD · Streaming · Hi-Res
- Released發行
- 2026-10-16
兩個人從二〇〇四年開始一起演，這是他們在 Alpha Classics 的第二張。節目單的首尾是本張最值得看的地方：開場是 Say 自己寫的第三號小提琴奏鳴曲（Op. 119），這首是寫給 Kopatchinskaja 的；收尾是 Kopatchinskaja 自己寫的三樂章《UniSolo》。中間夾 Szymanowski 的《Mythes》（Op. 30）與 Prokofiev 的第一號小提琴奏鳴曲（Op. 80）。一張二重奏唱片，兩位演奏者各自把自己的作品放進首尾，中間留給兩位作曲家，這個結構等於一份聲明。Prokofiev 那首寫於一九三八到一九四六年，橫跨戰爭與蘇聯體制，兩人在 Presto 的訪談段落裡都把整張碟的重心指向它。《衛報》十月十六日給了四顆星——署名我沒查到，Presto 的評論欄只列了報頭，原文也沒能定位，所以這裡只能寫到這個程度。錄音地點、日期與製作人官方沒給。
Karen y los Remedios — Bestiaria
- Genre類型
- Cumbia Rebajada · Downtempo Electronic · Experimental Pop
- Label廠牌
- ZZK Records（℗ 行確認）；目錄號 查無
- Format介質
- Streaming
- Released發行
- 2026-10-09
Pier Francesco Orsini had a gaping stone mouth carved at Bomarzo in the sixteenth century, after his wife died, and that sculpture is where this record starts: it supplies both the cover and the governing idea. Anna von Hausswolff reached for the same mouth once, and so did the Italian prog band Taproban, so there is a lineage to the borrowing. The titles read as a roll-call of deities and witches — the Aztec agave goddess in Mayahuel, the Mayan moon in Ixchel, the Greek Fates in Las Moiras — with a 1977 Mexican horror film, Alucarda, wedged in among them. Filipe Costa, writing it up for Bandcamp Daily, heard a more occult sort of cumbiatón: slowed cumbia rebajada underneath, reggaetón rhythm and very low frequencies on top. That is his reading. The label has credited no producer and no engineer, and the only confirmed member is the singer, Ana Karen Barajas. 整張碟的視覺與概念源頭是義大利 Bomarzo 那座「怪物公園」裡張著大嘴的地獄之口石雕，十六世紀由 Pier Francesco Orsini 在妻子過世之後下令建造。同一尊雕像 Anna von Hausswolff 用過，義大利前衛搖滾團 Taproban 也用過，所以這個引用本身有一條可查的系譜。曲名表基本上是一份神祇與女巫的點名簿：阿茲特克的龍舌蘭女神〈Mayahuel〉、馬雅的月亮女神〈Ixchel〉、希臘的命運三女神〈Las Moiras〉，中間還插進一部一九七七年的墨西哥邪典恐怖片〈Alucarda〉。結構是前半光、後半暗的兩段式。Bandcamp Daily 的 Filipe Costa 把它聽成一種更隱密、更神秘學的 cumbiatón，底是放慢的 cumbia rebajada，疊上 reggaetón 的節奏與超低頻——那是他的判斷，我記在這裡。製作人與錄音資訊官方一概沒列，確認在編制裡的只有主唱 Ana Karen Barajas。
Fat Dog — Cancel Me
- Genre類型
- Dance-Punk · Art-Rock · Post-Punk
- Label廠牌
- I'm Tired
- Format介質
- Streaming
- Released發行
- 2026-10-02
The second album grew straight out of the wreckage of a tour. Joe Love's account is that at some point out there everyone in the band had a small breakdown, and that he came back to London and went directly into recording with no gap. Which studio, and who produced it, the announcement did not say. One detail worth keeping: the Bandcamp page lists seven people, two more than the five most write-ups assume. The titles are not conciliatory either — Go Fuck Urself comes second, Bad Dog and The Devil arrive late, and the title song is placed third rather than saved for the end. Zoe Camp wrote it up for Bandcamp Daily; that is the only signed notice so far. 第二張專輯直接長在巡演的殘骸上。Joe Love 的說法是那趟巡演走到某個時間點，團裡每個人都小崩過一次；而他一回倫敦就進了錄音，中間沒有留緩衝期。錄音室是哪一間、製作人是誰，發片稿沒說。有一件小事值得記：Bandcamp 頁面列出的是七個人——Joe Love、Chris Hughes、Morgan Wallace、Ellis Dickson、Michael Dunlop、Dillon Harrison、Jed Bevington——比外界印象裡那個「五人編制」多了兩位。曲名也沒打算客氣，〈Go Fuck Urself〉排第二，〈Bad Dog〉與〈The Devil〉排在後段，而同名曲〈Cancel Me (I'm Tired)〉放在第三軌的位置，沒有留到最後當壓軸。署名樂評目前只有 Bandcamp Daily 的 Zoe Camp 在十月十六日那期 Essential Releases 裡寫的那一段。
Yayoba — Matkat
- Genre類型
- Experimental · Ambient · Kosmische
- Label廠牌
- Not Not Fun Records（⚠️ 來自 Bandcamp 頁的「more from Not Not Fun Records」導向，**頁面未明文標註，視為高度可能而非已證實**）；目錄號 查無
- Format介質
- Streaming
- Released發行
- 2026-10-02
Three men, three passports: Paul Wilson in Brighton, Johannes Schebler German, Jani Hirvonen from Tampere. They have not standardised their own naming either. Matkat is Finnish for journeys, two of the titles are in German, and the rest are English. The one I keep returning to is twelfth, The Sound of Mull — Mull is a Hebridean island and the Sound is the real strait beside it, sitting there between Living Dimensional Tunnel and Spectrolite Dance Hub as the only coordinate on the record you could actually sail to. Louis Pattison, in Bandcamp Daily, says it refuses to sit in any single genre. The label is probably Not Not Fun, though the page does not say so outright. 三個人、三個國籍：Paul Wilson 在英國 Brighton，Johannes Schebler 是德國人，Jani Hirvonen 來自芬蘭的 Tampere。連命名都沒有統一——專輯名《Matkat》是芬蘭語的「旅程」，曲名裡夾著德語的〈Wachsendes Wurzelwerk〉與〈Ein Seltsames Zeitempfinden〉，其餘是英語。我最喜歡的一處細節在第十二首：〈The Sound of Mull〉。Mull 是蘇格蘭赫布里底群島的一座島，Sound of Mull 是那條海峽的真實名稱，而它被放在〈Living Dimensional Tunnel〉與〈Spectrolite Dance Hub〉這類太空詞彙中間，是全碟唯一一個落在地圖上的座標。Bandcamp Daily 的 Louis Pattison 說這張拒絕被歸進任何單一類型。廠牌一欄要保留一點：頁面本身沒有明文標註，Not Not Fun 是從頁面的導向推出來的。樂器分工、錄音地點與日期全部查不到。
ヒラウチマイ（Mai Hirauchi） — さかさまの窓
- Genre類型
- Indie Rock · Chamber Pop · Singer-Songwriter
- Label廠牌
- 流通發賣元 ULTRA-VYBE, INC.；品番 **RUM-1001**（⚠️ 僅見於 Amazon 商品連結與 `ultravybe.lnk.to/RUM-1001` 短網址，**官方頁面未標示，降一級採信**）；JAN 4526180724346。唱片廠牌名稱本身 查無
- Format介質
- CD · Streaming
- Released發行
- 2026-09-30
She has been releasing singles since December 2020, at least nine of them, and さかさまの窓 — the upside-down window — is the first full-length to arrive; the CD is also the first time her work has gone into national distribution. The theme is 視点を変える, changing your point of view, which grew out of a single called でんぐりがえし, a forward roll, from August last year; that song is on the album. Three years running she has been picked for Nagoya's SAKAE SP-RING. The release show was at a coffee shop in Kanayama. Her official biography ends with a line about meaning turning up later, which is either a motto or a prediction. ヒラウチマイ（Mai Hirauchi）是名古屋人，二〇二〇年十二月就開始發單曲，到現在至少九支，而這張《さかさまの窓》（倒轉的窗）是她出道以來的第一張專輯；CD 版同時是她第一次進入全國流通。整張碟的題目是「視點を変える」，改變視角，這個題目直接從二〇二五年八月那支單曲〈でんぐりがえし〉（翻筋斗）長出來，那首也收進了本作。她連續三年入選名古屋的 SAKAE SP-RING。發片 live 辦在十月二日名古屋金山一間叫 Brazil Coffee 的咖啡店，前售四千日圓；十月三十一日再加一場 Tower Records 東浦店的 in-store。規模就是這麼大，完全在地。官方簡介的收尾句寫著「人生はきっと、あとから意味を持つ」。製作人、編曲與樂手官方都沒列，新聞稿只提到編制上用了電吉他與小提琴，所以我不去猜她的樂團長什麼樣。三家日本媒體的稿子都沒有署名，目前這張碟沒有任何一篇真正的樂評。
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