Daily Drops · Vol.065每日唱片 · Vol.065
Daily Drops Vol.065 — Jun 06 三個吹薩克斯的，今天沒一個在吹薩克斯
Zoh Amba — Eyes Full
- Genre類型
- Free Jazz / Appalachian Folk / Blues
- Label廠牌
- Matador
- Format介質
- Vinyl / CD / Streaming
- Released發行
- 2026-06-05
For two years Amba has been one of the most violent saxophonists in New York's free-jazz underground, a player who blows as though trying to pry the lungs open. Her Matador debut does something quietly astonishing: it puts the horn away. Back in Kingsport, Tennessee, she takes up the guitar — her first instrument — and sings a muddy, loose Appalachian blues, tracked live at a studio outside Asheville with no overdubs, Jim White on drums and bursts of feedback from Kevin Hyland. The songs circle the act of seeing and being seen in small working towns. That a musician who lives at the edge of noise should turn out to write songs this complete, on the first try, is the kind of pivot you don't see coming and can't quite stop replaying. 今天最該聽的一張。Zoh Amba 這兩年是紐約自由爵士最兇的薩克斯手之一，吹起來像要把肺撕開。新專輯裡她卻把號收起來，回老家田納西州金斯波特，撿起人生第一件樂器——吉他，唱起渾濁、鬆垮的阿巴拉契亞藍調。在 Asheville 的錄音室現場收音，零疊錄，Jim White 打鼓，Kevin Hyland 彈電吉他製造毛邊。每首歌都繞著「看見與被看見」打轉，寫小鎮裡拼命幹活、四處找救贖的人。一個活在噪音邊緣的音樂家，第一次寫歌就寫得這麼完整——這是這兩年爵士圈最意外的轉身。
Laura Misch — Lithic
- Genre類型
- Electronic / Ambient / Art Pop
- Label廠牌
- One Little Independent
- Format介質
- Vinyl / Streaming
- Released發行
- 2026-06-05
Misch is a saxophonist too, but her instinct runs the opposite direction: she feeds the horn, the voice, and field recordings into electronics until the seams disappear. Lithic — stone-like — takes minerals, soil, and shared ancestry as its subject, and yet the record never sits heavy. It is translucent, faintly ceremonial, the sound of an object slowly rotating behind glass. This is not music to leave on in another room; it asks you to slow to its own metabolism. Against her debut, the structures here are braver about silence, and braver still about hiding the tune until you've earned it. Of this year's meditative electronic records, it is the one that keeps rewarding the return. 倫敦的 Laura Misch 也是薩克斯手，處理方式卻完全相反：把號、人聲、田野錄音全部餵進合成器，揉成一團呼吸般起伏的電子。第二張專輯《Lithic》——「石質的」——主題是石頭、土壤和我們共同的祖先，聽感卻一點不沉，反而輕盈、半透明，像隔著水看一塊礦物在轉。這不是用來當背景的氛圍樂，它要你慢下來，進入近乎儀式的狀態。比起首作，她更敢留白，也更敢把旋律藏到你願意等的那一刻。今年偏冥想一路的電子裡，目前最耐聽的一張。
Baby Cool — Infinity Baby
- Genre類型
- Psychedelic Folk / Dream Pop
- Label廠牌
- Fuzz Club
- Format介質
- Vinyl / Streaming
- Released發行
- 2026-06-05
Baby Cool is Grace Cuell, co-frontwoman of the Brisbane psych band Nice Biscuit, and her solo turn arrives as a record of dreamy psychedelic folk. The voice lands like cool silk on a warm afternoon; the themes — abundance, higher meaning, a kind of spiritual steadiness — sound abstract until the songs make them specific. The desert-blues drift of "Devotion," the motorik push of "Everything," the exotica sway of the title track: the line between the cosmic and the personal simply isn't drawn. Bandcamp's reviewer reached for Jessica Pratt and Angel Olsen, then nudged the comparison toward the woo-woo, which is about right. The image that stays is a crystal pendant on a windowsill, turning the last of the sun into shards. Baby Cool 是澳洲布里斯本迷幻樂團 Nice Biscuit 的 Grace Cuell 的個人計畫。聲音像涼絲綢搭在悶熱的午後，唱的是豐盈、意義、靈性的踏實——聽上去玄，落到歌裡卻很具體。沙漠藍調底的〈Devotion〉、motorik 推進的〈Everything〉、異域搖擺的同名曲，普遍與私人之間那條界限被她乾脆抹掉。Bandcamp 給的參照很準：Jessica Pratt 或 Angel Olsen，再往「通靈」那邊偏一點。整張像窗臺上一枚緩緩轉動的水晶吊墜，把落日折成一地碎光。適合一個人，黃昏，不開燈。
distraction4ever — Life Is a Laugh
- Genre類型
- Post-Punk / Darkwave / Synth
- Label廠牌
- Self-Released
- Format介質
- Vinyl / Streaming
- Released發行
- 2026-06-05
The Montreal duo's name is itself a joke about the feeds none of us can put down, and their third album builds its world out of eighties darkwave — analog synths wound around guttural punk guitar, Beau Geste's baritone carrying a small, unmistakable echo of Ian Curtis. "Everything just disappears," they sing, over and over. And yet the record refuses to lie down. Beneath each song runs a restless indie-electronic bounce, a determination to wring something danceable out of the dread. It is the sound of a generation that can see the future collapsing and chooses to shove it back with one more synth line — laughing on the way down. Post-punk has been short on ideas lately; this finds a fresh bitterness in the old recipe. 蒙特婁二人組，連團名都是對刷不完的社群媒體的反諷。第三張專輯把八十年代暗潮的類比合成器和粗糲的龐克吉他絞在一起，主唱 Beau Geste 的男中音裡住著一個 Ian Curtis，反覆唱「一切都在消失」。但它沒有真的躺平：每首歌底下都墊著一層亢奮的獨立電子律動，像在絕望裡硬擠出一點蹦跳的勁。這是這一代年輕人的聲音——清楚地知道未來正在塌，還是要用一段反諷的合成器把它頂回去，邊塌邊笑。後龐克今年沒什麼新意，這張把老配方調出了新的苦味。
Machinedrum — BL00MS
- Genre類型
- Electronic / Jungle / UK Garage
- Label廠牌
- Self-Released (Bandcamp)
- Format介質
- Digital / Streaming
- Released發行
- 2026-06-05
After thirteen years and seven albums on Ninja Tune, Travis Stewart has taken Machinedrum back in-house; BL00MS is a Bandcamp exclusive, and the move suits it. He sheds the festival-sized futurism of the last decade and returns to the Machinedrum of 2011's Room(s) — melodic dance instrumentals drawing on classic jungle, UK garage, house, and dubstep in their rawest form. What's striking is how little of it leans on nostalgia as a costume. The turn-of-the-century feeling grows out of the rhythm and the arrangement rather than being pasted over the top. Left to his own devices, Stewart trusts his instincts further, and he is very good at this. If you want retro club music with no grease on it, start here. 在 Ninja Tune 待了十三年、出過七張專輯之後，Travis Stewart 把 Machinedrum 變回一人作坊，《BL00MS》只在 Bandcamp 獨家發行。這一步退得很有意思：他甩掉這些年那種適合音樂節的炫技未來主義，回到 2011 年《Room(s)》那個 Machinedrum——純粹、生猛的旋律舞曲，養料是經典 jungle、UK garage、house 和 dubstep。它不靠廉價的懷舊濾鏡，那種世紀之交的味道是從律動和編排裡自然長出來的，不是貼上去的。自己當家之後，他反而更敢往本能裡鑽。今年想聽不油膩的復古舞曲，從這張開始。
Wu-Lu & POiSON ANNA — Bakerz Dozen
- Genre類型
- Experimental / Trip-Hop / Post-Punk
- Label廠牌
- Self-Released
- Format介質
- Vinyl / Streaming
- Released發行
- 2026-06-05
Wu-Lu — whose 2022 LOGGERHEAD still hits — pairs here with the enigmatic POiSON ANNA for a pitch-black record, and the two make an ideal split: he holds the low end, rapping and muttering and occasionally growling, while she floats a breathy falsetto high overhead like a ghost. The range is wide. "Cold Bricks" crawls along on hushed bass and guitar; "Fade Thru" is restrained almost to the point of jazz; "King Kong" detonates into a jungle workout that pulverizes both voices beneath the percussion. What unifies it is mood — two spirits circling each other in the dark. The long shadow of Tricky's Angels with Dirty Faces finally has someone standing in it on purpose. 倫敦的 Wu-Lu（2022 年那張《LOGGERHEAD》至今還硬）這次和神秘搭檔 POiSON ANNA 聯手，交出一張漆黑的唱片。兩人完美互補：Wu-Lu 守低音區，說唱、唸白、偶爾低吼，給整張墊住地基；ANNA 佔高音，氣聲假音像幽靈一樣飄在上空。音樂跨度很大——〈Cold Bricks〉只剩低音和吉他在地上爬，〈Fade Thru〉剋制到近乎爵士，〈King Kong〉又是一場把人聲碾碎在密集打擊裡的 jungle 狂奔。但兩人之間的化學反應把一切統一成同一種氣氛：兩個魂在黑暗裡互相繞圈。Tricky《Angels with Dirty Faces》那條線，今年有人接住了。
Cedric "Im" Brooks — United Africa
- Genre類型
- Spiritual Jazz / Reggae (1978 Reissue)
- Label廠牌
- Pressure Sounds
- Format介質
- Vinyl / Streaming
- Released發行
- 2026-06-05
The day's third saxophonist arrives with his horn sealed in a master tape from 1978. This is the third solo album by the Jamaican player Cedric "Im" Brooks, lovingly restored by Pressure Sounds, the reggae-reissue label that has spent three decades doing exactly this. Brooks spent time in Philadelphia in the early seventies, where Sun Ra widened his ears, and came home to thread an Afrocentric jazz through his reggae — music that caught reggae, jazz, and even rock listeners at once. The reissue is more than nostalgia: this has long been a record you couldn't find at a sane price, and now anyone can. On the blurred border between dub, jazz, and percussion, it remains a landmark. Among today's new voices, the oldest record is the one that settles the room. 今天的第三個薩克斯手，號封在四十多年前的母帶裡。牙買加薩克斯手 Cedric "Im" Brooks 1978 年的第三張個人專輯，由專做雷鬼復刻的老廠 Pressure Sounds 重新整理發行。Brooks 七十年代初在費城待過一陣，被 Sun Ra 打開了聽覺，回來後把非洲中心主義的爵士織進雷鬼，出來的東西當年同時打動了雷鬼、爵士甚至搖滾的耳朵。復刻盤的意義不只是懷舊——這是一張長期一票難求的稀盤，如今終於有了人人買得起的版本。在 dub、爵士與打擊樂的模糊邊界上，它仍然是繞不開的一塊路標。今天這堆新聲裡，放一張老的，反而最定神。
Simone Dinnerstein & Baroklyn — Hourglass
- Genre類型
- Classical / Minimalism (Philip Glass)
- Label廠牌
- naïve
- Format介質
- CD / Streaming
- Released發行
- 2026-06-05
今天的古典一席。美國鋼琴家 Simone Dinnerstein 以巴赫著稱，這張轉向 Philip Glass，也是她登陸 naïve 廠牌的首作，趕在 Glass 九十歲生日（2027 年 1 月）之前。曲目是《時時刻刻》（The Hours）電影配樂改編的組曲，外加他 2000 年的第一鋼琴協奏曲《蒂羅爾》——後者把新巴洛克元素和 Glass 自己的練習曲揉在一起。Dinnerstein 彈 Glass 有一種別人少有的從容：她不把極簡主義彈成機械的重複，而是彈出呼吸、彈出那點欲言又止的傷感。和自己的樂團 Baroklyn 合作，整體溫度比一般 Glass 錄音要暖。給那些覺得極簡主義「太冷」的人一個重新進門的機會。