The week Schubert dared the devil to play it 他說這只是一廂情願，然後把六首全錄了下來

Lukas Geniušas / Sinfonieorchester St. Gallen / Modestas Pitrėnas — Schubert/Liszt: Wanderer Fantasy · Tchaikovsky: Concert Fantasy

Schubert finished the Wanderer Fantasy in 1822, took stock of what he had written, and reportedly grumbled that only the devil himself could play it. Three decades later Liszt arranged the thing for piano and orchestra, ostensibly an act of grandeur but in practice a quiet favor: the soloist now gets to hand half the weight to the strings. Geniušas pairs it with Tchaikovsky's almost never-programmed Concert Fantasy, another showpiece that was written to be a little too much for one person. The wager of the disc is that virtuosity sounds most relaxed when it has somewhere to lean. A Leeds and Queen Elisabeth laureate, Geniušas plays with a clean, unfussy touch that knows exactly what it's wrestling. My pick of the four.

Marc Sabbah — J.S. Bach: Cello Suites Nos. 1–6, BWV 1007–1012

Label廠牌

Arr. for Viola

Celestial Power — Celestial Power

Feeding Tube Records has spent years as a reliable home for the gnarled and the underbuilt, and this self-titled set—four long tracks, no apologies—fits the house style. The music spreads rather than develops: psychedelic, droning, pushed along by long currents of electricity, the sonic equivalent of treating a half-finished house as an echo chamber. It isn't interested in being pretty; it's interested in how far in you're willing to walk. Bandcamp Daily made it an Album of the Day on the eighteenth, and the cover—a tall, portrait-shaped slab of cosmos—reads as its own quiet manifesto: this was not made to sit in a square feed. Best met alone, late, with nothing else running.

yulia — Kindness, She's so Jealous

yulia call themselves an "alternative internet band from texas and new jersey," which is roughly all the biography on offer. There was no label campaign and no press; the record simply appeared, and by its second day the user score on Album of the Year had climbed to the high eighties on the strength of listeners alone. Twelve tracks, fifty-four minutes, opening on "good morning, kindness" and closing on "goodnight, kindness"—a whole day rendered as an album—before the title track detonates and runs, by itself, past nineteen minutes. Emo tears, glitch static, shoegaze smear: one early review described it as "if sweet trip made a wet dream." The nerve here isn't technical. It's the willingness to go this long and this unkempt and assume someone will stay to the end. Today's most worthwhile surprise.