Daily Drops · Vol.046每日唱片 · Vol.046
Daily Drops Vol.046 — May 18 一位 53 歲的希臘東正教神父，在自家用 ney、oud、無品電吉他錄的拜占庭微音 drone，本週 Bandcamp 銷售榜登頂——加三張 Friday 古典重磅、一張讀村上的鋼琴三重奏、一張谷地 club、一張 Dublin 戒酒小組裡長出的 alt-grunge。
π. Διονύσιος Ταμπάκης — Paradise Metal
- Genre類型
- Byzantine Drone / Microtonal Experimental / Liturgical Electronic
- Label廠牌
- Heat Crimes (Athens) × Elhellel (Thessaloniki)
- Format介質
- Cassette / Digital
- Released發行
- 2026-04-29（Bandcamp Daily Album of the Day 5/15 推選）
Fr. Dionysios Tabakis, fifty-three, of Asia Minor descent, married with three children, serves a small church in Nafplio in the Peloponnese. He records alone, at home, on qanun, oud, cümbüş, ney, zurna, Politiki and Pontic lyra, kabak kemane, yali tanbur — and, on two tracks, a fretless electric guitar (perdesiz, in Turkish: "without frets") capable of bending into the small intervals, the moria, that Western tuning sealed off centuries ago. Two more tracks feature Evgenia Symela Armeni in psaltic mode. The whole record is slow, devotional, weighted with the mass of a stone nave. It is not metal in any received sense. It is, instead, the calmest argument I have heard recently for why Sunn O)))'s Life Metal and a Byzantine chant might be on the same continuum. Today's pick. 53 歲，希臘小亞細亞裔，已婚有三個孩子。納夫普利翁 Panagitsa 教堂的東正教神父——這是他第一張專輯。器物清單：qanun、oud、cümbüş、ney、zurna、Politiki 與 Pontic lyra、kabak kemane、yali tanbur，外加兩軌用無品電吉他（perdesiz）彈小於半音的 *moria*。兩首拜占庭讚美詩由 Evgenia Symela Armeni 演唱——她受過正統 ψαλτοτράγουδο 訓練。整張慢、重、肅穆，把石牆的質量塞進 drone。不是 metal——是把 Sunn O))) 的《Life Metal》翻譯成拜占庭語。Bandcamp 五月銷冠級別。
Jean-Guihen Queyras / Luxembourg Phil / Gimeno — Lutosławski: Cello Concerto · Bloch: Schelomo
- Genre類型
- Classical / Cello Concerto / 20th Century
- Label廠牌
- Harmonia Mundi
- Format介質
- CD / Hi-Res FLAC / Streaming
- Released發行
- 2026-05-15
When Rostropovich premiered Lutosławski's cello concerto in 1970 he claimed to hear, in its loud central crisis, "the Central Committee at full strength." The composer himself, drily, asked that nobody go quite that far. Queyras, decades into a career that has never coasted, finally takes on the piece — the kind of long, exposed, harangued monologue that punishes any cellist who hasn't earned the right to play it. The Bloch Schelomo on the back half feels deliberate: two works wrestling with twentieth-century history in different alphabets. 1970 年 Rostropovich 首演 Lutosławski 大提琴協奏曲的時候，把那段暴烈的中段聽成"中央委員會全員到齊"——作曲家本人在採訪裡乾乾地表示不要走那麼遠。Queyras 在他職業生涯的第 N 個十年終於來碰這首曲子，配上 Bloch 1916 年的《Schelomo》。後者是一首猶太狂想曲，前者是冷戰邊境的獨白型大協。兩支與二十世紀曆史角力的弓被放進同一張唱片裡——這不是一個溫和的搭配，但是一個互相注視的搭配。
The Choir of Magdalen College Oxford / Mark Williams — Nico Muhly: With Eyes Lift Up
- Genre類型
- Contemporary Classical / Sacred Choral / Premiere
- Label廠牌
- CORO
- Format介質
- CD / Hi-Res FLAC / Streaming
- Released發行
- 2026-05-15
Muhly has written, essentially, a calendar — Candlemas, Ascension, Trinity, plus a Magdalen Service and a Missa brevis — thirteen world-premiere recordings of pieces he made for this very chapel. The title comes from a poem by Thomas Traherne, the seventeenth-century mystic for whom childhood seeing was, more or less, the highest theological category. Muhly never costumes himself in the early-music register; he prefers a propulsive present-tense harmonic vocabulary, which is exactly what makes a sixteenth-century Latin text feel like it's being sung now rather than reproduced. Muhly 替 Magdalen 寫的實際上是整個禮拜年：Candlemas 一首、Ascension 一首、Trinity 一首，外加一臺 Magdalen Service、一臺 Missa brevis。13 首世界首錄。標題取自 Thomas Traherne 的詩——這位 17 世紀英國神秘詩人的"With Eyes Lift Up"指的是被孩童的眼睛重新照亮的世界。Muhly 寫祭祀文本的優點在於他從不假裝古風，他用的是當下的和聲推力，讓 16 世紀的拉丁文本在 21 世紀 Oxford 的高壇上重新唱起來——給世俗的人聽的聖樂，他永遠在這條線上行走。
Martin Owen / Manchester Camerata / Gábor Takács-Nagy — Mozart: The Four Horn Concertos & Rondo, K371
- Genre類型
- Classical / Horn / Mozart
- Label廠牌
- Chandos
- Format介質
- CD / Hi-Res FLAC / Streaming
- Released發行
- 2026-05-15
Manchester Camerata 的「Mozart, Made in Manchester」系列接 Bavouzet 鋼琴協奏曲套之後接下一棒——這次是號角四首加 Rondo K371。莫扎特給老酒友 Joseph Leutgeb 的這套禮物是八年間斷斷續續的來信，K371 在他死後由 Süssmayr 補完。Owen 自寫第 3、4 號和 K371 的華彩，不抄襲任何一支傳世版本。Takács-Nagy 仍然是 Camerata 的靈魂指揮——一套不端架子、不哲學化的莫扎特，聽起來像是回到 1786 年的酒館裡。
Tim Allhoff — Between Here and Nowhere (A Tribute to Haruki Murakami)
- Genre類型
- Contemporary Jazz / Cinematic Piano Trio / Cross-Genre
- Label廠牌
- Neue Meister
- Format介質
- CD / Hi-Res FLAC / Streaming
- Released發行
- 2026-05-15
Allhoff lists his influences with what looks, on first read, like a high school music notebook — Monk, Schumann, Radiohead, The Beatles — but the resulting album is more disciplined than that menu suggests. He has written what amounts to a piano-trio score for Murakami's fictional world: the slightly under-lit interiors, the cats that walk in from nowhere, the women who say something cryptic and disappear behind a curtain. Reinterpretations sit alongside original miniatures. He doesn't lean on cinematic as an alibi. 德國鋼琴家 Allhoff 列的影響清單看上去像高中音樂筆記——Monk、Schumann、Radiohead、The Beatles——但他寫出來的東西比那張清單更有節制。要做的事是給村上春樹的小說世界寫配樂：那種半夢半醒的廚房、突然走進來的貓、說完一句謎語就消失在簾子後面的女人。Allhoff 用鋼琴三重奏的輕骨架去接，不假裝抒情，不濫用 cinematic 這個詞。重新詮釋加原創混編。給會在《1Q84》裡翻找自己的人。
Soltera & Sonido Sex — Soltera y Su Sonido Sexual
- Genre類型
- Club / Punk / Techno / Drum & Bass / Reggaeton
- Label廠牌
- SOLTERA (self-release, dottidot 關聯)
- Format介質
- Digital / Bandcamp Exclusive
- Released發行
- 2026-05-14（Bandcamp Daily Album of the Day 5/14 推選）
Tania Ordoñez grew up around borrowed synthesizers and warehouse functions in the San Fernando Valley, and the record carries every one of those rooms with it: metal weight, drum-and-bass propulsion, house's sensuality, dub's spatial depth, a reggaeton pull underneath. Track titles like "Bass In My Thong" tell you, kindly but firmly, not to bring an audio-engineer ear to this. Cherry Chola, Dolomedes, and Estefanía Gallo guest. It is a dance-floor catharsis with a punk heart and a club nervous system. Tania Ordoñez 是在 San Fernando Valley 借來的合成器和暗夜倉庫派對里長大的。整張專輯把金屬的強度、drum & bass 的肉身、house 的肉感、dub 的空間、雷鬼吉冬的引力，九軌一起塞進去。曲名"Bass In My Thong"直白地告訴你不要帶工程師的耳朵聽這張。Featuring Cherry Chola、Dolomedes、Estefanía Gallo——San Fernando 谷地暗夜倉庫 party 的脈搏，直接裝進 Bandcamp。不是給你聽完寫樂評的——是跳完才會回頭想幾個問題的那一種。
Bleech 9:3 — Bleech 9:3 (EP)
- Genre類型
- Alt-Grunge / Dublin Indie / Post-Fontaines
- Label廠牌
- Polydor Records
- Format介質
- Digital / CD（TBC）
- Released發行
- 2026-05-15
Baz Quinlan and Sam Duffy met when Baz was Sam's twelve-step sponsor — a piece of context Polydor has not buried in the press notes, and which the songs themselves don't apologize for. The chassis is nineties alt-grunge, the cadence is Dublin-now, owing something to Fontaines D.C.'s plainspoken pain. Five songs, recorded after the duo moved from Dublin to London but with the local accent intact. The pleasing thing about debut EPs is how much they admit. This one admits a lot. Baz Quinlan 與 Sam Duffy 的關係起點是十二步戒酒小組的 sponsor 與 sponsee——Baz 是 Sam 的輔導員。這件事 Polydor 沒有藏在新聞稿裡，歌裡也沒有為此道歉。骨架是 90 年代 alt-grunge 的吉他，節奏卻是 Dublin 當下的赤裸口吻，欠了 Fontaines D.C. 一些。五軌切片，搬到倫敦錄的，本地口音沒有被磨掉。出道 EP 最舒服的一點是它能允許自己承認很多事，這張承認得不少。