Daily Drops · Vol.187每日唱片 · Vol.187
A shamisen player wanted a duet that did not exist, so one got written. 她把曾祖父的大樂團請進了最後一首
12 Ensemble, Sean Shibe, Oliver Leith & GBSR Duo — Doom and the Dooms
- Genre類型
- Contemporary Classical · Chamber · Experimental
- Label廠牌
- feat. PJ Harvey
- Format介質
- Streaming · Hi-Res
- Released發行
- 2026-10-16
Oliver Leith's new record arrives pretending to be someone else's. Wigmore Hall commissioned the piece, and it was premiered in June 2024 by the forces that play it here: Sean Shibe on electric guitar, GBSR Duo on piano and percussion, the strings of 12 Ensemble. What they perform is presented as the surviving document of a Bonfire Night concert by a band called Doom and the Dooms, a group that has never existed. Leith's account of the provenance involves wrecked tapes bought at a garage sale and transcribed into wordless songs so the music would not be lost, and the track listing commits to the fiction: one title is printed as "(Title not known and incomplete)," and "The Abider" turns up twice, like an encore. The percussion writing is where the conceit stops being a joke. The parts call for a musical saw, six sets of glass bottles, tubular bells, rototoms, broken pottery and shell casings, and the score builds in the mess of live performance, with players mumbling their announcements and a keyboardist whistling along. The Quietus singles out "Lug" as the most Leith thing here: a pavane-steady pulse, low and high strings tugging against each other, a timpani roll doing the work of a blast beat, and then a melody the review says sounds as though it came out of a cheap plug-in. 這張東西從頭到尾假裝自己不是自己。Leith 給的來歷是一場車庫舊物出清上買到的爛磁帶，為了不讓裡面的音樂消失，他把它們轉寫成沒有歌詞的曲子，於是整張碟成了一支叫 Doom and the Dooms 的樂團在營火之夜的演出錄音。曲目表跟著入戲：其中一首的標題直接印成「(Title not known and incomplete)」，而〈The Abider〉在碟上出現兩次，像一場演出的正曲加安可。PJ Harvey 在官網公告裡發言的身分是這支虛構樂團的童年聽眾——她說小時候在收音機裡聽到他們，那音樂就 "went inside me"，而她此後的創作一直在試著複製那種感覺。這是 Wigmore Hall 的委約，2024 年六月首演，班底與唱片一致：Sean Shibe 的電吉他、GBSR Duo 的鋼琴與打擊、12 Ensemble 的弦樂。打擊聲部裡塞了樂鋸、六組玻璃瓶、兩隻管鐘、四隻 rototom、碎陶片與彈殼。The Quietus 的評論挑〈Lug〉當 Leith 的代表作：穩定脈動像巴洛克 pavane，低音弦與高音弦交替拉扯出複調，定音鼓滾奏像 blast beat，接著一條尖銳旋律進來，而那篇評論說它聽起來像廉價 VST 插件做的。
藤倉大（Dai Fujikura） — 冷泉（Reizei）
- Genre類型
- Contemporary Classical · Classical
- Label廠牌
- Minabel
- Format介質
- Streaming · Hi-Res
- Released發行
- 2026-10-23
藤倉大是在疫情期間開始跟三味線演奏家本條秀慈郎學琴的。本條想跟美國笛手 Claire Chase 同臺，可是三味線加笛的曲目根本不存在，於是學生動手替老師寫了一首——曲名「冷泉」還是本條提的，用的是中棹而不是津輕三味線。經費來自哈佛大學音樂系，2024 年八月在蒙大拿的 Tippet Rise 首演。錄音過程裡師徒兩人的位置是反著的：藤倉把極細的指法寫進譜裡，再親自示範給老師看，他說那是一堂角色互換的三味線課，兩個人最後都在笑。〈Sparkler〉原本是一首塞滿特殊技法的大提琴曲，改成三味線版是本條提議的；藤倉說換了樂器之後，他看見原本沒注意到的東西。整張碟自費發行，作曲、剪接、混音、母帶都是他一個人。碟名是挪威設計師 Mihail Mihaylov 從候選清單裡挑的，理由是他的設計從字體排版開始做。
Superfan — My Piledriver Heart
- Genre類型
- Dream Pop · Chamber Pop · Art Rock
- Label廠牌
- AD 93
- Format介質
- Streaming
- Released發行
- 2026-10-16
Recorded in a rehearsal space underneath Indochine, the Manhattan restaurant, with Hudson Pollock producing and engineering. Kali Flanagan is twenty-one and signed his first record contract at fourteen, which may account for the habit he describes breaking here: he used to approach albums wanting them to sound like something his own clones had made. The cellist Omeed Almassi pushed him somewhere darker and is now in the band, and the working question of the record is the harmonic resonance between cello and Flanagan's low, drop-tuned guitar. On "Jason Powers of The Underminer," The Fader hears layers of acoustic guitar chugging like a train while Almassi's glissandos circle the edges. 錄音地點是曼哈頓 Indochine 餐廳樓下的一間排練室，製作兼工程 Hudson Pollock。Kali Flanagan 今年二十一歲，十四歲就簽了第一份唱片合約。他講這張碟的轉向講得很具體：以前他錄專輯的想法是讓成品聽起來像自己的「clones」做出來的，而大提琴手 Omeed Almassi 把他帶往更暗、更有辨識度的地方，現在 Almassi 已經是團員。這一次他著意去挖大提琴與自己那把低調弦吉他之間的和聲共振。他母親是印度人，Almassi 是伊朗背景，《The Fader》的專訪說兩人在做碟的過程裡開始正視自己作為移民子女的視角，並把它放進 art rock 的語境。那篇點了〈Jason Powers of The Underminer〉：原聲吉他層層疊上去像火車推進，Almassi 的滑音繞在外圍。
V.V. Lightbody — Period Piece
- Genre類型
- Singer-Songwriter · Jazz-Folk
- Label廠牌
- Egghunt Records
- Format介質
- Streaming
- Released發行
- 2026-10-09
Lightbody has spent most of a decade as the flute on other people's records, Twin Peaks and Whitney and Finom among them, and in 2022 she covered a Harry Styles slot at the BBC's Big Weekend. This is her first proper solo album in six years, fully self-produced, and what broke the silence was, by her own account, a run through every screen version of Sense and Sensibility, plus The Gilded Age and The Empress. She says she was a little depressed and wanted out. The closing gesture is the one worth knowing: "Patience Like A Pilot" ends with a recording of her great-grandfather Randall Lightbody's big band, the Blossom Heath Entertainers, who used to come through Chicago for work. The stage name comes from that side of the family. 她在芝加哥的身分一向是「吹笛子的那個人」：Twin Peaks、Whitney、Finom 的錄音都找她，2022 年 BBC Radio 1 Big Weekend 上她還頂替過 Harry Styles 的場次。《芝加哥太陽報》的 Selena Fragassi 說她這幾年在棚裡當的是別人的「album doula」，這是記者的形容，她本人沒這樣說過。這張是她六年來第一張正式個人碟，完全自製。最值得說的事落在收尾：〈Patience Like A Pilot〉的結尾放的是她曾祖父 Randall Lightbody 的大樂團 Blossom Heath Entertainers 當年的錄音，那支樂團常穿過芝加哥跑場，而「Lightbody」這個藝名就是從家族裡的音樂人那一支取來的。至於創作的緣起，她自己說是因為那陣子把每個版本的《理性與感性》都看了。
Mike Reed's Separatist Party — Sing the Color Blue
- Genre類型
- Experimental Jazz · Spoken Word · Contemporary Jazz
- Label廠牌
- Thrill Jockey
- Format介質
- Vinyl · CD · Streaming
- Released發行
- 2026-10-23
The personnel reads like a Chicago census: Reed plus Rob Frye, Cooper Crain and Dan Quinlivan, all of Bitchin Bajas, with the poet and singer Marvin Tate and with Ben LaMar Gay. The record took nearly three years to assemble, starting at Constellation in January 2022 and finishing at Electrical Audio between November 2023 and April 2024, and into it went vocals Reed had been recording with Tate for years before that. Some pieces are the band playing in a room. Others are Reed rearranging Tate's old tapes and writing him new melodic lines to sing over them, which is a strange sort of collaboration and audibly one. The repertoire is not shy either: Tristan Honsinger's "Restless in Pieces" and an arrangement of Nancarrow's sixth study for player piano. The title is half a friend's joke about his wardrobe and half his interest in the Bauhaus. The opening track is called "Closing." 這是一支芝加哥的全明星：Mike Reed 之外，Rob Frye、Cooper Crain、Dan Quinlivan 三位都來自 Bitchin Bajas，再加詩人兼歌者 Marvin Tate 與 Ben LaMar Gay。錄音拉得很長，2022 年一月在 Constellation 起手，主體在 2023 年十一月到 2024 年四月的 Electrical Audio 完成，而更早幾年 Reed 陸續錄下的 Tate 人聲也被併進來——有些曲子是現場棚內演奏，有些則是他把 Tate 的舊錄音重新編排，甚至替他寫好新的旋律線讓他重唱。選曲也不客氣：Tristan Honsinger 的〈Restless in Pieces〉，加上 Conlon Nancarrow 給自動鋼琴寫的第六號練習曲。碟名一半來自朋友嘲他衣櫃幾乎全是藍的，一半來自他對 Bauhaus 的興趣。開場那首叫〈Closing〉。
syrup16g — Canon Feel
- Genre類型
- Alternative Rock · Guitar Rock
- Label廠牌
- DAIZAWA RECORDS／UK.PROJECT
- Format介質
- CD · Streaming
- Released發行
- 2026-10-21
Thirty years in, and the twelfth album. Most of this was road-tested in front of audiences before the band ever took it into a studio, and the rest was written afterwards to fill out the set. The title comes from an instrumental of the same name; the label traces it to a canon progression in a guitar line, then leans on the other sense of the word, canon as standard, as licence to dig further into whatever makes syrup16g syrup16g. 結成三十年，第十二張。大半曲目在進棚之前就先在現場演過了，剩下的是後來補寫的。碟名來自同名的器樂小品，廠牌通稿說靈感是吉他旋律裡的「カノン進行」，並把 canon 當成「基準」那層意思，接到「把 syrup16g 之所以為 syrup16g 再挖深一層」上。五十嵐隆一個人包辦全碟詞曲，中畑大樹打鼓，キタダマキ彈貝斯。封面交給 N.I.L 1979。同名巡演十一月一日從札幌 PENNY LANE 24 開跑，十二月九日在 Zepp DiverCity 收尾。
DYGL — All Tomorrows
- Genre類型
- Blues Rock · Hard Rock · Garage Rock
- Label廠牌
- Easy Enough
- Format介質
- CD · Streaming
- Released發行
- 2026-10-14
It began as an EP and kept growing. The method carries over from last year's record: everything except the vocals recorded in single takes, no click, the room's air left in, the band producing itself, with Stephanie "Slozzaa" Loza engineering from Los Angeles. One track, "De Nada," comes out of their earliest sessions, and De Nada was the band's first name. The label points at Black Sabbath, Led Zeppelin and Motörhead as a direction not previously made explicit, which is a lot to claim on anyone's behalf. I want two more listens before I agree. 本來只打算做一張 EP，寫著寫著曲子越來越多，就成了正式專輯，距上一張只隔一年。錄音沿用上一張的做法：除了人聲全部一發錄，不開節拍器，收的是現場演奏的空氣感，製作仍是自己來，錄音工程找了駐洛杉磯的 Stephanie "Slozzaa" Loza。碟上有一首〈De Nada〉，出自他們最早期的 session——「De Nada」本來就是這支樂團最初的團名。通稿點的參照是 Black Sabbath、Led Zeppelin 與 Motörhead，說這是過去沒明確出現過的方向。這個方向走得多遠，我還在判斷，再聽兩遍再說。
Bruce Cockburn — The Blood of Others
- Genre類型
- Folk · Americana · Singer-Songwriter
- Label廠牌
- Sunset Boulevard Records
- Format介質
- Streaming
- Released發行
- 2026-10-16
His thirty-ninth album, and he wrote none of it. The title is borrowed from the Simone de Beauvoir novel written under the German occupation of France; Cockburn read it in the seventies, liked what it did with personal responsibility under threat, and thought the phrase suited a record of other people's songs. The best piece of bookkeeping concerns "That's All Right, Mama." Elvis reached Ottawa radio just as Cockburn hit adolescence, and what he credits with making him want a guitar is Scotty Moore's lead playing, raucous and tender by turns. He then takes care to say that the version he plays owes more to Arthur Crudup's original recording than to the one that made the song famous. 第三十九張，而且一首自己寫的都沒有。碟名借自西蒙·波伏娃寫在納粹佔領法國期間的那本小說，他說自己七十年代讀的，書裡處理的是人在壓迫面前的個人責任與選擇，而這個名字剛好配一張 "songs I didn't write" 的唱片。最有意思的交代落在〈That's All Right, Mama〉：Elvis 的歌在他進青春期時打到渥太華的電臺，讓他想學吉他的是 Scotty Moore 的 leads，時而粗嗄時而溫柔；可他特別說明，自己彈的這個版本更接近 Arthur Crudup 的原錄音。
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