Daily Drops · Vol.062每日唱片 · Vol.062
Beck turns up on a Brazilian record to sing Nick Drake — that kind of day 沉默三年，feeble little horse 回來就把吵與準同時調滿
feeble little horse — bitknot
- Genre類型
- Indie Rock / Noise Pop
- Label廠牌
- Saddle Creek
- Format介質
- Vinyl / CD / Cassette / Streaming
- Released發行
- 2026-05-26（數字，驚喜發行；實體 6/26）
Three years after Girl with Fish, the Pittsburgh trio simply dropped this with almost no warning, which feels right for a band whose whole method is the ambush. A founding member has left; a new one has arrived; the group calls this "feeble 3.0," and the most audible change is generosity. Lydia Slocum's voice, once half-buried under guitar squall, is now pushed to the very front, sweet melodies leading and the noise trailing behind like weather. Don't mistake that for softening. "DMT" — death, money, tech — is a small, furious tract against late capitalism, while "Shopping" and "Dior" treat retail therapy as both balm and symptom: "She's just like me but prettier and it's not fair." Twenty-five minutes, eleven songs, not a wasted gesture among them. 距上一張《Girl with Fish》三年，匹茲堡三人組幾乎沒預告就把這張丟了下來——對一支以「伏擊」為方法的樂隊，恰如其分。創始成員離隊，新人補上，他們稱之為「feeble 3.0」，最聽得見的改變是慷慨：Lydia Slocum 的人聲從前半埋在結他噪音底下，這次被推到最前，甜旋律領路，轟鳴退到後面當天氣。但別誤會成變軟。「DMT」（death / money / tech）是一封寫給晚期資本主義的短檄文；「Shopping」與「Dior」把零售療法同時當成藥和病徵——「她在我的 feed 裡 / 跟我一樣，只是更好看，不公平。」專輯封面取自舊式電腦的磁芯記憶體，0 和 1 打的結。二十五分鐘，十一首，是他們目前最聰明的一張。
Seu Jorge — The Other Side
- Genre類型
- MPB / Bossa Nova / Jazz
- Label廠牌
- Amor in Sound / Phonomotor
- Format介質
- Vinyl / CD / Streaming
- Released發行
- 2026-05-08
Sixteen years in the making, and audibly unhurried about it. The Brazilian singer steps away from the samba and funk that built his name and moves toward jazz, bossa, and orchestral writing, with Mario Caldato Jr. — long of the Beastie Boys — at the desk. The moment that makes you sit up: Beck, breathy and reverent, covering Nick Drake's "River Man," a Californian singing an Englishman onto a Rio record. Marisa Monte and Maria Rita turn up too. Nothing here rushes or oversells; Jorge sings in a voice sanded a shade darker than before, finally willing to let a phrase finish on its own time. Sixteen years isn't long, if this is what you were waiting for. It mostly was. 醞釀了十六年，而且聽得出它不趕。這位巴西歌手離開讓他成名的 samba 與 funk，往 jazz、bossa 與管絃樂走去，交給 Mario Caldato Jr.（Beastie Boys 的老搭檔）操刀。最讓人坐直的一刻：Beck 以氣聲翻唱 Nick Drake 的〈River Man〉——一個加州人，唱一個英國人，放進一張裡約的唱片。Marisa Monte、Maria Rita 也來了。這裡沒有任何一處趕拍或煽情；Jorge 的嗓子被磨得比從前暗一些，終於願意讓一句話按自己的節奏收尾。十六年不算長，如果你等的正是這個。多半是。
Wu Qian & Juho Pohjonen — Unspoken
- Genre類型
- Classical / Piano Four Hands
- Label廠牌
- Orchid Classics
- Format介質
- CD / Streaming
- Released發行
- 2026-05-08
Two players, one keyboard — piano four hands is the most crowded and most intimate room in classical music, four hands obliged to yield, crowd, and converse across a single span of keys. Wu Qian and Juho Pohjonen place Mendelssohn's two major duets at the center, but hand the album's heart to women composers: a rediscovered Sonata in F by Sophia Maria Westenholz, its harmony bolder than its era should allow, framed by the four-hand miniatures of Cécile Chaminade and Amy Beach. It is a quiet record, in the best sense — designed for an evening when you'd rather not be pushed anywhere, only kept close company. The recording lets you hear the bench creak; that proximity is the point. 兩個人，一副鍵盤。四手聯彈是古典裡最擠也最親密的房間——四隻手得在同一段琴鍵上讓路、相擠、對話。鋼琴家鄔倩與 Juho Pohjonen 把孟德爾頌的兩首大型二重奏擺在中央，卻把專輯的心交給女性作曲家：一份被重新翻出的樂譜——Sophia Maria Westenholz 的 F 大調奏鳴曲，和聲大膽得不像那個年代——再以 Cécile Chaminade 與 Amy Beach 的四手小品作框。一張安靜的唱片，最好的那種安靜：為一個你不想被推著走、只想被靜靜陪著的傍晚而設。錄音連琴凳的輕響都留著，那份貼近正是重點。
Yekwon Sunwoo — Liszt
- Genre類型
- Classical / Solo Piano
- Label廠牌
- Decca / Universal
- Format介質
- CD / Streaming
- Released發行
- 2026-05-07
The first Korean to win the Van Cliburn, back in 2017, organizes his third studio album around a single idea — "singing with the piano" — and the sequence follows that thought rather than the usual virtuoso's logic. You get reminiscence and meditation first, then a set of whispered, intimate songs, and only later the temptation, the love, the two operatic, almost diabolical fantasies. Consolations and Liebesträume sit beside Liszt the great arranger, his transcriptions of Schubert and Schumann. It was recorded at the Jesus-Christus-Kirche in Berlin's Dahlem, the room Karajan favored, and that space is the album's quiet co-star: every decay given somewhere generous to go. Showy Liszt is easy to find. This is the patient kind. 2017 年第一位贏得範．克萊本大賽的韓國人，把第三張錄音室專輯繞著一個念頭編排——「用鋼琴歌唱」——而曲序也順著這個念頭走，不照炫技者的邏輯。先是回憶與冥想，再是一組低語般親密的歌，之後才放進誘惑、愛，以及兩首近乎魔鬼的歌劇幻想。Consolations 與 Liebesträume 旁，坐著作為改編大師的李斯特——他對舒伯特、舒曼的轉寫。錄於柏林達勒姆的耶穌基督教堂，卡拉揚偏愛的那間；那個空間是這張安靜的共同主角，每一道餘響都有去處。炫的李斯特很好找，這是有耐心的那種。
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