Daily Drops · Vol.069每日唱片 · Vol.069
Nothing this week is in a hurry — one record waited ten years for its own sound. 管風琴被凍到降了半音，這一天的碟都帶著一點耐心
Kiri Ra! — Nen
The Helsinki trio of Lau Nau, Linda Fredriksson, and Matti Bye spent the better part of a decade assembling this record, and you can feel the unhurriedness in every bar. Piano, balafon, glockenspiel, saxophone, mandolin, toys, and synthesizers blink in and out like fireflies on a warm night — an image the music earns rather than borrows. The ground is Finnish folk, but jazz, contemporary classical, ambient, and electronics drift across it without ever announcing themselves. Released on We Jazz, it is nominally a jazz album, though it steers well clear of anything you could tap your foot to. Bandcamp's own jazz columnist confessed he could barely pull himself away to hear what came next in his queue. I understand the problem. This is my pick of the day, and the slowest thing I'll recommend all week. 赫爾辛基三人組——Lau Nau、Linda Fredriksson、Matti Bye——花了十年才湊齊這張專輯。鋼琴、巴拉風、鐘琴、薩克斯、曼陀林、玩具、合成器、顫音琴交織在一起，像夏夜裡明明滅滅的螢火蟲。
Sasha Stychkina — Debut
2003 年生於莫斯科的希臘—俄羅斯鋼琴家，這是她的第一張獨奏專輯。柏林 Teldex 錄音室錄製，藝術指導是她的老師、當今最具魅力的鋼琴家之一 Kirill Gerstein。
Ben Richter — Mymerian
作曲家兼手風琴家 Ben Richter（他還領著 Ghost Ensemble），拉上大提琴 Laura Cetilia、低音提琴 Mike Bullock，在一座由 19 世紀教堂改建的藝術空間裡，用一臺 1906 年的 Estey 管風琴現場錄音。
Justina Repečkaitė — Tapestries
This is a portrait of a composer's first decade, eight works lined up so that each seems to belong to a different person. The earliest, "Chartres," was written in 2012 while Repečkaitė was still a student, and its orchestration — taut sustained tones, stabbing rhythms, a needling harmonic charge — already sounds finished. Elsewhere she turns stranger and more personal: "Incantare" sets a solo flute against vocal fry and overtone singing; "Tapisserie" translates the logic of woven cloth into asymmetric sound that refuses machine-age symmetry. The standout, "Sturnus vulgaris cohibitus," was written for a pianist during the pandemic and later fitted with four transducers that let the piano impersonate a flock of starlings — Repečkaitė's real subject being the way the great civic silence of those months handed the birds a new stage. Stunning, and somehow restless about being so. 立陶宛作曲家頭十年創作的一次總覽，八部作品擺在一起，每一部都像換了個人。最早的《Chartres》寫於 2012 年她還在學時，配器已經老練得驚人——繃緊的持續音、戳刺般的節奏、針扎一樣的和聲張力。
Rosa Brunello — We Are Surging Waters
The Italian bassist Rosa Brunello has made a record that is perpetually in motion: take your ear off it for a moment and it has moved somewhere else by the time you return. The melodies are real and up front, but they're byproducts of the rhythm, which gathers up modern jazz, Afrobeat, Middle Eastern traditional music, dub, and plain groove and refuses to sit still in any of them. She's brought serious company — Yazz Ahmed on trumpet, Tamar Osborn on baritone saxophone, Maurice Louca on synthesizer — and the band plays like it has somewhere to be. It is, unfashionably for this list, music that dances, and occasionally reaches over and pulls you up to dance with it. After six records of drones and free improvisation, you may find you needed exactly this. 義大利貝斯手 Rosa Brunello 領銜。這是一張始終在運動的唱片——你不能把耳朵移開，因為等你回來，它已經不在你上次聽到的地方了。旋律不是寫出來的，是從現代爵士、Afrobeat、中東傳統、dub 的節奏底裡長出來的。
Alexander Hawkins — No Nation But Imagination
I've been listening to the Oxford pianist Alexander Hawkins for the better part of fifteen years, and I still couldn't pick his playing out of a lineup — which, I've decided, is the point. He reinvents himself each time out, and this latest, with harpist Rhodri Davies, drummer Hamid Drake, flutist Nicole Mitchell, and turntablist Matthew Wright (live sampling included), is unclassifiable even by his standards. On first pass it reads as chaotic free jazz, all elbows and weather. Stay with it and a meticulous architecture rises into view, as though you were being shown, slowly, how every part of the universe quietly connects to every other. The disorder turns out to be a net, not a mess — which is a harder and rarer thing to compose than chaos, and far harder to compose than order. 牛津鋼琴家 Alexander Hawkins。聽了他十五年的樂評人坦白：很難說他有一個能一耳認出的「個人聲音」——因為他每張都把自己重造一遍。
Ben Vida — Oblivion Seekers
Ben Vida picks up where his 2023 voice experiment left off, and complicates it. Nina Dante still leads the singing, but the choir now folds in Christina Vantzou, John Also Bennett, and Félicia Atkinson, trading the earlier album's near-robotic unison for something more varied and coloristic; the instrumental forces have swelled, too, from spare minimalism into a winds-driven ensemble with Matt Bauder on saxophone, Cleek Schrey on violin, and Henry Fraser on bass. Vida's old trick remains the engine: spoken words, repeated and stacked, slowly stop being speech and start being melody. On paper the method looks static. In the room it keeps opening outward — you drift between the cadence of the talking, the harmony piling up behind it, and the small forward motions underneath, and the piece renews itself each time your attention moves. 接著 2023 年那張人聲實驗作品往下走。Nina Dante 仍是主唱，合唱裡這回多了 Christina Vantzou、John Also Bennett、Félicia Atkinson；器樂編制也從極簡換成了管樂主導的大樂團（薩克斯 Matt Bauder、小提琴 Cleek Schrey、低音 Henry Fraser）。
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