Camilla Pisani — Konstellationen · Daily Drops Vol.097

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Camilla Pisani — Konstellationen

Pisani treats language as something closer to weather than grammar: words, gestures, symbols, the drift of stars, all filed under the same heading. That could have curdled into a thesis, but the record stays patient. Six pieces spread across roughly an hour, each carrying a scrap of text she's been writing for years, so the sound and the words keep leaning on each other. The fourth track, "Some Days You Become an Island," is exactly what it sounds like — a slow accretion of drones that surfaces without hurrying toward shore. This is late-night, lights-off, headphones-on music, and it rewards the posture. Aesthetical, the Cyclic Law offshoot, has pressed 200 CDs with a sixteen-page booklet, which feels about right for something this interior.

2K88 & Lauren Duffus & Rainy Miller & Bianca Scout — Everything Always Changes, For We're Truly Here

The Polish producer Przemysław Jankowiak — 2K88 — kept returning to one dance scene from Tadeusz Konwicki's 1965 film Salto while he made this, and the whole record moves at that dreamed, underwater tempo. Unsound commissioned it to introduce Polish and British artists to one another; Jankowiak brought Rainy Miller's poet's rap, Bianca Scout's gothic choral haze, and Lauren Duffus's R&B hooks up to the Baltic coast at Gdynia and let them trade ideas. The opener sets coarse noise against airy vocals while Miller mutters about "a war where the sea meets the sky." By the closing title track the same image has turned tender, almost consoling. It is out tomorrow, July 9, and it is the most alive thing I heard all week. 波蘭製作人 2K88 找來三位英國音樂人——會用饒舌寫詩的 Rainy Miller、把哥德與 R&B 攪在一起的 Bianca Scout、聲線輕盈的 Lauren Duffus。這是克拉科夫 Unsound 音樂節的委約，本意是把波蘭與英國的聲音湊到一起。四個人在 2K88 的老家、波羅的海邊的 Gdynia 駐地錄音，靈感是一部 1965 年的波蘭電影《Salto》裡的一段舞。整張像一部放慢的電影：第一首〈Everything Always Changes〉粗糲的噪音底下，Miller 唱「海與天相接的地方有一場戰爭」；到了收尾的同名曲，同一句意象翻了過來，變得近乎溫柔。明天（7/9）才正式上架，先記著。

Peggy Buard & Émilie Chevillard — Dyade

Harp and piano, a hundred-odd strings between them, plucked and struck and rubbed and stopped. The eye can count two instruments on the stage; the ear routinely loses track, because a harp's decay slips under the piano's pedal and the piano's low end gets handed back to the harp before you notice the exchange. Buard and Chevillard call the pairing a dyad, and the improvising stays chamber-sized — quiet, deliberate, full of small mechanisms. "Poussières" is the one I keep restarting. Yolk, the Nantes label, has a long habit of this kind of thing, and knows better than to over-produce it. 法國的半音豎琴（Buard）配鋼琴（Chevillard），組成一個「二元體」。兩件樂器加起來一百多根弦，拋、擊、敲、擦、編，什麼手法都用上。妙處在於：眼睛數得清檯上是兩件樂器，耳朵卻常常分不出誰是誰——豎琴的餘韻鑽進鋼琴的踏板，鋼琴的低音又被豎琴接了過去。這是室內樂的骨架，即興的肉；安靜，但安靜裡全是機關。Yolk 一貫的水準。

Four musicians build an hour of slow cinema around a single dance scene from a 1965 Polish film. 海與天相接的地方有一場戰爭，四個人把它錄成了慢速電影。