Daily Drops · Vol.183每日唱片 · Vol.183
They wired a telescope to a synthesiser and let the moon play it. 望遠鏡轉一個角度，音高就跟著走
Geologist & Kyle Simon — The Sirens
- Genre類型
- Drone · Ambient · Experimental
- Label廠牌
- Outside Time；目錄號 查無
- Format介質
- Streaming
- Released發行
- 2026-10-16
Kyle Simon fitted photodiodes and optical sensors to a telescope he built himself, ran the moonlight they collected through an analogue amplifier, and sent the resulting signal into Brian Weitz's modular synthesiser as control voltage, where it set pitch, filter and rhythm. The division of labour is the part worth holding on to. Simon turned the tube, changing the angle on the moon so the light rose and fell; the label compares the gesture to a theremin player's hand. Weitz listened and decided, in the moment, whether to bend what arrived, push it, or leave it alone. They did this on 17 October 2024, on the night of the Hunter's Moon, at the Farrington Observatory that Simon founded out in Joshua Tree. The piece began life in 2018 as an installation at the Integratron, and this is a recording of one performance of it. Thomas Britt, writing for Spectrum Culture, gave it seventy-five percent and heard overtones, distortion and percussive bursts stacked over the drone; his conclusion is that it earns a place in the celestial-drone tradition but will not sit politely behind a conversation. No synth models, no engineers, and not a word from either man about any of it. Kyle Simon 在自己動手造的望遠鏡上裝了光電二極體與光學感測器，把採到的月光經模擬放大器轉成電訊號，直接當控制電壓送進 Brian Weitz 的模組合成器，去調音高、濾波與節奏。分工寫得很清楚：Simon 負責轉動鏡筒、改變望遠鏡對月亮的角度，光強度跟著一高一低，廠牌的說法是這個動作近似特雷門琴手的手勢；Weitz 在另一頭聽，即時決定要把訊號彎過去、推上去，還是放著不管。錄音日是二〇二四年十月十七日，刻意卡在獵人之月那一晚，地點是 Simon 自己在加州 Joshua Tree 創立的 Farrington Observatory。這件作品原本不是唱片，是一個反覆上演的現場演出兼聲音裝置，二〇一八年首演於 Landers 那座穹頂建築 Integratron；本片就是二〇二四年那一晚的實錄。Thomas Britt 在 Spectrum Culture 給了七十五分，他的判斷是 drone 底層之上還疊了泛音、失真與打擊式的爆點，所以這張要求主動聆聽、放不成背景。合成器型號、望遠鏡規格、混音與母帶工程師，官方一概未列，兩位也沒有關於本片的任何發言——能寫的就是上面這套機制。Geologist 就是 Animal Collective 的 Brian Weitz。
@ — Autosmile
- Genre類型
- Indie Folk · Art Pop · Indie Rock
- Label廠牌
- 4AD（Bandcamp 頁寫明是「their first album for 4AD」）；目錄號 查無
- Format介質
- Streaming
- Released發行
- 2026-10-16
Victoria Rose used to put out folk records as Brittle Brian, which is the sort of detail that reframes a band once you know it. She and Stone Filipczak met around 2017 in the Boston DIY scene — he had come up from Baltimore playing noise rock at sixteen, once sharing a bill with Lightning Bolt's Brian Chippendale — and this is their first album for 4AD after a self-released 2021 record, a Carpark reissue of it, and a hyperpop EP. They now live in the same city and still write apart, recording at home in their separate apartments, which Rose puts down to not being able to invent these parts with somebody watching. Will Steen gave it a solid 3.5 in Buzz and located the pleasure in the wonkiness: dissonant flute, metallic percussion, a monkey lifted off YouTube. One track has a real kit on it; the guitars recorded for that session were thrown out afterwards. 這個團的名字就是一個符號。Victoria Rose 與 Stone Filipczak 現在同住費城，寫歌卻還是各自在自己的公寓裡分開寫、分開家錄。Rose 的理由很具體：如果覺得有人在旁邊看著，大概就想不出這些段落。兩人約二〇一七年在波士頓的 DIY 場景認識——Filipczak 是巴爾的摩人，十六歲就在玩 noise rock，曾經在 house show 跟 Lightning Bolt 的鼓手 Brian Chippendale 同場；Rose 是費城人，組團之前以 Brittle Brian 的名義做民謠。本片是他們簽上 4AD 之後的第一張。全片只有〈I'm Not In Pain〉用了真鼓組：朋友 Garrett Burke 打鼓、Andy Loebs 彈貝斯，兩人照 Filipczak 先用 MIDI roll 編好的譜學起來彈，錄的時候吉他也錄了，後來整軌丟掉，只留貝斯與鼓。〈Earthly Love〉的和聲由老友 Nina Ryser 唱，三個人在同一個房間裡一次錄完，Filipczak 說這在現在很不尋常。Buzz Magazine 的 Will Steen 給了「A solid 3.5」，他聽到的好東西是兩人互相揉爛對方點子所生出的歪斜能量：不和諧的長笛、金屬敲擊，還有那段從 YouTube 上扒來的猴子採樣。專輯名的來歷倒是平淡——Filipczak 看到的一個抽大麻的 meme。
Dummy — do you love the color of the sky?
- Genre類型
- Shoegaze · Electronic · Indie Rock
- Label廠牌
- Polyvinyl Records（Bandcamp 頁有「more from Polyvinyl Records」連結，Treble 樂評亦寫 Polyvinyl）；目錄號 查無
- Format介質
- Streaming
- Released發行
- 2026-10-16
Jeff Terich made this Treble's album of the week and called it sleek and nocturnal, hearing the band's remix habit promoted into the main event and a balance struck between dancefloor pleasure and a specific political exhaustion. The band's own account of itself is blunter. Joe Trainor says they are making pop music, and have always said so; the record, in his framing, sounds like remixed versions of pop songs you will never get to hear. They built a sample library out of recordings of their own several hundred gigs, then plundered it. Apart from two synthesiser tracks, everything is processed guitar used as a sound generator. The instrumental with the unpronounceable title came from hitting a guitar with drumsticks and reversing the loop. Nobody has published a studio, a producer, or a date. 洛杉磯五人團，這張第三張正規。方法論是本碟最值得說的一件事：他們把自己打過的數百場演出錄下來，建成一座自錄採樣庫，再拿這座庫去 remix、重組自己的聲音。除了兩首用合成器，全片靠處理過的吉他撐起來，吉他被當成聲音產生器用。Joe Trainor 的自我定位講得很直白，他們一直說自己在做流行樂，而這張在他口中像是「你永遠不會聽到的那些流行歌的 remix 版」。順序也反轉了：前幾張是先在排練室把歌弄出來再進錄音室，這次是反過來做的。器樂曲〈CBBSIMMPWM〉的來歷是用鼓棒敲吉他敲出的一段 loop，再倒放。原本這張根本沒打算拿來現場演，是確定要巡演之後才回頭解決「怎麼彈」，於是整套裝備全換，並且決定臺上完全不帶電腦——Trainor 說那條線就在失敗與狂喜之間。Treble 的 Jeff Terich 把它列為當週專輯，形容是 sleek and nocturnal，認為他們先前的 remix 工作被推成了正片，並且在舞池的享樂與明確的政治挫敗之間取到平衡。Alex Ewell 那邊的說法是，沒辦法做出不帶政治的音樂。錄音室、製作人、工程師與錄音日期，官方一欄都沒給。
Two Shell — Infinite Now
- Genre類型
- Electronic · Club · Dance-Pop
- Label廠牌
- Young；目錄號 **YO509LP（黑膠）／YO509CD（CD）**
- Format介質
- Streaming
- Released發行
- 2026-10-16
Two critics filed on 16 October and reached opposite conclusions, which makes this the most interesting record of the week regardless of what you think of it. Andy Steiner, in Paste, hears a tinny, uncomfortable flatness and a set of gestures toward Daft Punk and Madeon that never arrive; he rejects the duo's line that this is not an AI album, but insists the failure is dullness rather than automation, and he admits that the AI detectors he ran the tracks through gave him nonsense. Ben Hogwood, in musicOMH, gives it 3.5 and treats generative vocals as one more studio tool, hearing Caribou, Basement Jaxx and Overmono, plus announcer fragments between tracks with a pirate-radio flavour. Context for the argument: in 2024 the duo put an AI-cloned vocal from a BTS member on Bandcamp and received a cease-and-desist from Big Hit. They still perform masked, and they have sent decoys to interviews. 這張最值得看的其實是它收到的兩篇樂評，同一天出，判斷正好相反。Paste 的 Andy Steiner 是負評：他說整張蒙著一層 tinny, uncomfortable flatness，每首都在朝 Daft Punk、Madeon 那類更好的前輩比劃卻沒到位；他不接受團方「這不是一張 AI 專輯」的說法，但強調真正的失敗不在用了 AI 而在無聊，他甚至自己拿線上 AI 檢測器跑過曲目，結果一團亂，並自承這類工具不可靠。musicOMH 的 Ben Hogwood 給三點五星：他把生成式 AI 當成又一件製作工具，類比 dance music 本來就習慣的重複性打拍方式，聽出 Caribou、Basement Jaxx、Overmono 的影子，還點出曲目之間用電臺口播式的語音片段串接、帶著海盜電臺的氣味，並承認機器人味的舞曲必然讓聽眾分裂。倫敦這個二人組從二〇一九年起活動，起點是英國 techno 廠牌 Livity Sound，後來自辦 Mainframe Audio，把自家網站做成一個門戶兼遊戲。他們長期戴面罩現身，派過替身去受訪，而 Paste 記載本作宣傳期是他們第一次上鏡受訪、而且戴著面罩。本作做了約一年半，一開始構想的是一個大得多的曲庫，最後收窄成這一張。現場 rider 上只有一臺小 JBL 音箱，加一排 Tekh Balance 做的辦公室燈板。至於 AI 爭議的前科：二〇二四年那輪「Talk To Me」發行裡，他們把一位 BTS 成員的人聲用 AI 克隆做成一個版本掛上 Bandcamp，結果收到 Big Hit Music 的律師函。錄音地點、設備、人聲提供者是誰，一律查無。
Flora Hibberd — Mammoth
- Genre類型
- Singer-Songwriter · Art Pop · Synth Rock
- Label廠牌
- 22TWENTY；目錄號 **LP22T006C（黑膠）／CD22T006（CD）**
- Format介質
- Streaming
- Released發行
- 2026-10-16
Her description of how she works is the most quotable thing about this record: songwriting, she says, is collecting and collaging and trying things, and she writes a great many songs nobody will ever see because they are only tests. The ones that survived here start from a word, a line, or a fragment of chorus, worked up on guitar or autoharp. Ben Lanz produced — a long-serving member of The National and Beirut who taught at university for some years and credits that with how he handles people in a room — and the two sat down in Paris to talk through the making of it. Andrew Neal, in Silent Radio, rates it a clear step up from the acoustic Swirl on hooks and instrumentation. London-born, Paris-based, first gig at sixteen. 標題曲的起點是一篇關於西伯利亞出土幼年猛象的報導，她說真正黏住她的是那具屍體躺在實驗室裡的畫面。但整張的暗線來自另一本書：她在今年三月讀到一本寫十五世紀獵巫、以及封建制向資本主義過渡的書，她的說法是那本書給了全部歌曲一條共同的貫穿線。她的寫法是從一個詞、一句、或一段 chorus 的構想起手，在吉他或自鳴箏上寫，而且自述大量歌寫完沒人會看到，因為那些都只是試驗。製作人是 Ben Lanz——The National 與 Beirut 的長期成員，編曲家兼多樂器手，曾在大學教了幾年書，他說那段經歷塑造了他跟人相處的方式。兩人為了談這張的製作過程在巴黎見面對談：她說 Lanz 擅長在錄音室裡繞過問題找路，Lanz 說他在緊張時刻盡量保持平靜。Silent Radio 的 Andrew Neal 評得很正面，認為這張比她偏民謠的《Swirl》明顯上了一級，鉤子、情緒幅度與配器都齊整。她倫敦出生、現住巴黎，十六歲打了第一場演出。錄音室、工程師與參與樂手，官方沒列。
Shirantha Beddage — Departures
- Genre類型
- Contemporary Jazz · Hard Bop
- Label廠牌
- Rhea Records；目錄號 查無
- Format介質
- Streaming
- Released發行
- 2026-10-16
The title does a lot of work. There was a death in the family, a new job, a run of family trips; elsewhere on the record a piece points at something that happened at a folk festival in Ireland, another at Kenny Wheeler, another at an airport in Singapore, another at a residency in Sweden. Two pieces come from the vannama composed for the kings of Kandy, which he found while following his own Sri Lankan line backwards. He assembled a band that had not played any of it, barely rehearsed, and cut the whole thing live off the floor in a day. No byline has reviewed it. 他為這張另組了一支全新的樂隊，這些人事前都沒演過這些曲子、排練極少，然後 live-off-the-floor、幾乎不剪接、一天之內錄完。唱片上的編制是鋼琴 Florian Hoefner、低音提琴 Jodi Proznick、鼓 Jim Doxas，〈Musaladi Vannama〉另有小號 Kevin Turcotte 客座，核心四重奏還是從加拿大不同省份拼起來的。那兩首改編曲是這張最特別的一塊：它們出自為康提諸王所作的一組宮廷曲牌 vannama，「Musaladi」在僧伽羅語裡是野兔的意思，他是在追溯自己斯里蘭卡血脈的過程裡翻到這些幾百年前的歌、被旋律吸住的。標題指向好幾件事：家中有人過世、換了新工作、幾趟家族旅行；另有曲目分別對著愛爾蘭一場民謠音樂節上發生的事、一首獻給 Kenny Wheeler 的致敬曲、一趟新加坡機場的經歷，以及二〇二二年在瑞典的一次駐村。他吹上低音薩克斯，現任多倫多大學音樂學院爵士系助理教授，拿過兩次 JUNO 提名，作曲與編曲曾被用在《Fargo》的配樂裡。十月二十七日倫敦 Vortex 的發片場，用的是另一支完全不同的英國五重奏，跟唱片上的人沒有一個重疊。這張目前沒有任何一篇署名樂評。
Peter Donohoe, BBC Philharmonic & Yan Pascal Tortelier — Florent Schmitt: Orchestral Works
- Genre類型
- Classical · Orchestral · Concerto
- Label廠牌
- Chandos；目錄號 **CHAN 20366**
- Format介質
- CD · Streaming
- Released發行
- 2026-10-16
Donohoe's own account of the Symphonie concertante goes straight to the practical difficulty: the piano writing is of an order he compares to Messiaen's Turangalîla, and the real problem is holding a balance against a large orchestra. Yan Pascal Tortelier started the whole project after studying the score, first arranging a concert in Tokyo in February 2023 with the Tokyo Metropolitan Symphony and the pianist Tomoki Sakata, and only then bringing Donohoe and the BBC Philharmonic to Salford. He spent something like eighteen months absorbing it and rates the result among the most important recordings of his career. Three of the four works here are first recordings; the orchestral score of the Dukas memorial was never published at all, and the only copy sits in Philadelphia's Fleisher Collection. The Çançunik won a competition that asked composers, in the late 1920s, for something popular. 這個項目是指揮自己發起的。Yan Pascal Tortelier 研讀過 Schmitt 的《Symphonie concertante》之後，主動去找能演它的人：先促成二〇二三年二月與東京都交響樂團、鋼琴家佐藤卓史的一場音樂會，之後才拉上 Peter Donohoe 與 BBC Philharmonic 進錄音室。他自述為這首作品做的準備超過自己任何其他曲目，大約用了一年半吸收總譜，並稱這是他整個職業生涯裡最重要的錄音之一。Donohoe 那邊把鋼琴部分的難度類比 Messiaen 的《Turangalîla》，並指出核心難題是獨奏與大樂團之間的平衡。四首作品裡三首是首次錄音，其中《Stèle pour le tombeau de Paul Dukas》的管絃版總譜從未出版過，孤本存在費城的 Fleisher Collection——今天能聽到它，靠的就是那一份。《Çançunik》則是一九二七至二九年為 Radio-Paris 背後那家廣播公司一場「徵求通俗風格作品」的比賽寫的，拿了頭獎。《Symphonie concertante》一九三二年底在波士頓首演時，鋼琴獨奏是 Schmitt 本人、Koussevitzky 指揮；一九三七年 Paul Paray 把它帶回巴黎演，場內出現了敵意反應。錄音二〇二五年十月三十至三十一日在 Salford 的 MediaCity UK，製作人 Jonathan Cooper、錄音師 Stephen Rinker。順帶提醒：Gramophone 站上那篇看起來像本碟的評論，其實是一九九五年評 Marco Polo 舊版的，別當成這一張。
NDR Radiophilharmonie & Stanislav Kochanovsky — Prokofiev: Chout & Symphony No. 1 'Classical'
- Genre類型
- Classical · Orchestral · Ballet
- Label廠牌
- Harmonia Mundi；目錄號 **HMM905406**
- Format介質
- CD · Hi-Res · Streaming
- Released發行
- 2026-10-16
《Chout》在蘇聯境內只上演過一次：一九二八年一月的基輔，改題《Blazen》，A. S. Orlov 指揮。而那場演出中間出現了長時間的停頓，原因很實際——當時手上那份樂譜是從交響組曲版倒推回來的，缺了連接各幕的 entr'actes，音樂接不上就只能等。普羅科菲耶夫此後拒絕為了能上演而改動作品，其他蘇聯方面的嘗試也都沒成。這部舞劇的身世本來就曲折：Diaghilev 當初委託的其實是《Ala and Lolli》，退稿之後那批音樂變成了《斯基泰組曲》；題材是斯特拉文斯基建議給 Diaghilev 的，而一九二〇年在 Mantes-sur-Seine 的那次改寫裡，原作四成以上被刪掉或重寫，鋼琴縮譜則是他在赴美的船上寫的。一九二一年五月十七日巴黎首演由作曲家本人指揮、Mikhail Larionov 總監，巴黎反應尚可，六月九日倫敦那場被觀眾與評論一起罵。後來那套十二段交響組曲遠比全本流行，全本舞劇音樂的首個錄音要等到 Rozhdestvensky 在一九八〇年代中期才做，這也讓本碟成為稀有的全本錄音之一。Stanislav Kochanovsky 自二〇二四／二五季起任 NDR Radiophilharmonie 首席指揮。本碟的錄音場地、日期與製作團隊，廠牌頁抓不到，官方也沒另行公佈；他本人為什麼挑全本，同樣查無。
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