Daily Drops · Vol.068每日唱片 · Vol.068
The man who wrote the Wombles theme just handed the LSO a war 讓 Miles Davis 坐進文藝復興與史特拉汶斯基之間
O/Modernt Chamber Orchestra & Hugo Ticciati — milestones
The premise sounds like a parlor game: pick three composers who died in years ending the same way—Josquin in 1521, Stravinsky in 1971, Miles Davis in 1991—and lay them end to end. Across four hundred and seventy years, the Stockholm-based O/Modernt threads Josquin's Mille Regretz into Stravinsky's Histoire du soldat suite into Miles's Selim, Sivad, and All Blues. What saves it from gimmickry is that the orchestra never pretends to swing. They let the strings approach the translucent hesitation of late Miles instead, turning All Blues into something that breathes like chamber music. Three ways of falling silent, set side by side by an ensemble still very much alive. 前提聽起來像客廳遊戲：挑三位逝世年份尾數相同的作曲家——Josquin（卒 1521）、史特拉汶斯基（卒 1971）、Miles Davis（卒 1991）——首尾相接。橫跨四百七十年，斯德哥爾摩的 O/Modernt 室內樂團把 Josquin 的《Mille Regretz》、史特拉汶斯基的《士兵的故事》組曲、和 Miles 的《Selim》《All Blues》一段段串起來。
London Symphony Orchestra / Mike Batt — Symphony No. 1 'Ukraine'
Mike Batt wrote the theme to The Wombles, composed "Bright Eyes," and signed Katie Melua to his label. Now, past seventy, he has written his first symphony and conducted the LSO through it himself: thirty-seven minutes, four movements—Prelude, Blitzdream, Love and Loss, Hope with Strength. It is, by his own account, the melodic, unembarrassed face of modern classical music, prompted by the invasion of Ukraine but meant to stand without the footnote. Too on-the-nose? Probably. There is no minimalist cover, no academic scaffolding to hide behind. But a pop veteran turning, late, toward a war symphony is its own kind of nerve, and the conviction earns the forty minutes. Mike Batt 是寫《Wombles》主題曲、寫《Bright Eyes》、簽下 Katie Melua 的那個人。七十多歲，他第一次寫交響曲，還親自指揮倫敦交響樂團走完全程：37 分鐘，四個樂章——序曲、閃電夢、愛與失去、堅強的希望。
Various Artists — She Composed: 53 Piano Pieces by Women Composers
Fifty-three short piano pieces, three centuries, all by women: from the Baroque of Jacquet de la Guerre and Elisabetta de Gambarini through Amy Beach and Florence Price to Dora Pejačević, Vítězslava Kaprálová, and the contemporary Karen Tanaka. Anthologies like this risk mattering more as homework than as listening. But the miniature is forgiving—it asks nothing of your posture. You can let it drift in the background until one piece stops you cold, Price's Hoe Cake maybe, or one of Pejačević's lullabies. A catalogue, yes, but also a roll call of names that should have been on the shelf all along. 五十三首鋼琴小品，橫跨三個世紀，全出自女性作曲家之手：從巴洛克的 Jacquet de la Guerre、Elisabetta de Gambarini，到 Amy Beach、Florence Price，再到克羅埃西亞的 Dora Pejačević、捷克的 Vítězslava Kaprálová 與當代的 Karen Tanaka。
David Sánchez — Tambó
The Puerto Rican tenor saxophonist spent a whole record with his ear pressed to the drum. Tambó is the sequel to Carib, and it grew out of a 2019 trip with his wife to San Basilio de Palenque, Colombia—the first free Black settlement in the Americas, founded by maroons under Benkos Biohó after their 1599 escape. In the drumming there, Sánchez heard the bomba of Loíza, back home. So the album becomes a conversation between two coastlines: one rhythm in two accents. He resists turning it into ethnography; the melodies keep surfacing through the percussion. It is dedicated to his late mentor, Eddie Palmieri. 波多黎各的次中音薩克斯手 David Sánchez，用一整張專輯把耳朵貼在鼓上。《Carib》的續作。2019 年他和妻子去了哥倫比亞 San Basilio de Palenque——美洲第一個自由黑人社區，1599 年逃亡的逃奴在 Benkos Biohó 帶領下建立。他在那裡的鼓點裡，聽見了家鄉波多黎各 Loíza 的 bomba。
Osees — Off Course
John Dwyer went back to the old method this time: jam, jam, jam; take the tapes home and iron out a few mutant tunes; track them live to tape in the studio; add vocals last. Five tracks—two long jams, two short ones, and a finale he promises will dump a bucket of earworms on you. Dwyer calls it an album "wondering where the fuck are we and how did we get here," which is about right for organ-driven garage rock at this velocity. Osees release several of these a year and rarely flag. Don't make it an event; just trust that it won't let you down. John Dwyer 又來了，這次回到老辦法：狂 jam，把母帶帶回家剪出幾段「變異的曲子」，再進錄音室 live 錄到磁帶，最後補上人聲。五軌，兩長兩短的 jam 加一個把耳蟲倒你一頭的結尾。
Midrift — Silhouette
An EP came first; the full-length follows close behind. The shoegaze recipe is intact—wall of fuzz, smeared vocals, melody buried just deep enough—but it's executed cleanly, without using noise as an alibi. The genre is crowded this year past the point of keeping track. What recommends Midrift is that they know when to go quiet and when to let the thing collapse. Not a revelation, but put the headphones on after dark and it will hold you under for half an hour. 先有同名 EP，全長緊接著來。Shoegaze 的老配方都在——失真牆、糊掉的人聲、藏得剛好深的旋律——但做得乾淨，沒拿噪音當藉口。
overpass — Elsewhere, Always
British indie rock on Communion: bright guitars, drums that push ahead of the beat, songs about leaving and being perpetually somewhere else. It reinvents nothing, but the hooks land squarely and the choruses arrive on time. Daytime music—commute, bike, walk—that asks nothing of you and nudges your mood a notch forward anyway. 英國獨立搖滾，簽在 Communion 旗下：亮閃閃的吉他、往前趕的鼓、寫給離開與總在別處的歌。它不重新發明什麼，但鉤子下得準，副歌準時到場。
Aooo — Rooom
The second full-length from the young Japanese band Aooo, who name their records by stacking the same vowel—Aooo, Fooocus, now Rooom. The sound is young and ragged, with that J-rock habit of pushing emotion right up to the top of the throat. Not polished, but it has momentum. If you want a new band off the Anglo-American radar, this is a door in. 日本新樂團 Aooo 的第二張全長。命名很軸——Aooo、Fooocus、Rooom，一路疊 o。聲音年輕、毛躁，帶著 J-rock 那種把情緒頂到喉嚨口的勁。
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