A doom band breaks a twenty-year silence to cut five songs in a deconsecrated church, and calls the whole thing love. 一部十三分鐘的交響曲，其實只是一個男人，把主禱文唸了一遍。

Warning — Rituals of Shame

Released發行

2026-06-19（Relapse；本週 Bandcamp Essential Releases 7/10 頭條）— 補記

To finish the lyrics, Patrick Walker decamped to a house on a hill outside Florence; to record them, Warning took over a hundred-and-forty-year-old former church in Southport, with Chris Fullard—an engineer whose CV runs from Idles to Sunn O)))—at the desk. You can hear the room. These five songs move at the pace of something reluctant to end, each chord set down and left to ring until the next one displaces it, and yet the record never feels airless: Walker’s voice rides high and almost weightless over all that mass, closer to June Tabor’s economy than to any metal convention. It is the band’s first music in two decades, and Walker, characteristically reluctant to explain himself, will only say that beneath the guilt and the shame the subject is love. The title track opens and does not let go.

Sueye Park — Goldmark & Sibelius: Works for Violin and Orchestra

Released發行

2026-07-10（Presto New Release Round-Up 7/10）— 今日落地

Karl Goldmark’s 1877 Violin Concerto is the sort of piece that gets called a rarity, which is a polite way of saying nobody plays it. Sueye Park makes the case that they should. Her tone is silvery and disciplined, and she keeps the concerto’s Hungarian-inflected swagger on a short leash, so that its lyricism reads as reticence rather than display. The pairing is the clever part: Sibelius studied briefly with Goldmark in 1890s Vienna, and Park follows the concerto with his late Suite for violin and strings and a scatter of miniatures, letting pupil answer teacher across the disc. The Rundfunk-Sinfonieorchester Berlin, under Valentin Egel, stays out of her way. 韓國小提琴家帕秀彥（Sueye Park）做了一件聰明的事：把老師和學生放進同一張專輯。一八九〇年代的維也納，年輕的西貝流士曾短暫師從高德馬克（Goldmark），這張碟就從高德馬克那首一直被冷落的《A 小調小提琴協奏曲》開場，接著是西貝流士晚期的小提琴組曲與幾首小品。她的琴音銀亮而剋制，把高德馬克那點匈牙利民間的野氣收得剛剛好。柏林廣播交響樂團與 Valentin Egel 在後面託著，不搶。

Cleveland Orchestra / Welser-Möst — Ustvolskaya: Symphony No. 5 "Amen" · Poulenc: La voix humaine

Released發行

2026-07-10（Presto New Release Round-Up 7/10）— 今日落地

Jessica Walker — La Solitude: The Songs of Barbara

Released發行

2026-07-10（Presto New Release Round-Up 7/10）— 今日落地

When Gerhard Schröder wanted to mark forty years of the Élysée Treaty, he quoted a Barbara song—“Göttingen,” her wary hymn to reconciliation with Germany. Outside France, though, the chansonnière born Monique Serf remains a rumor, and Jessica Walker’s remedy is a bold one: she sings her in Walker’s own English translations. Something goes when the French does, that intimacy of syllable pressed to melody; the wager is that the architecture survives, and mostly it does. Joseph Atkins rescores the songs for a mezzo and the Solem Quartet, so that cabaret keeps bumping into the string-quartet tradition, and neither quite wins. 法國香頌天后 Barbara（本名 Monique Serf，一九三〇年生於巴黎）在法國以外一直不算家喻戶曉。次女高音 Jessica Walker 想改變這件事，於是做了一個冒險的決定：用自己翻譯的英文歌詞來唱她。翻譯總要付代價——法文那種黏在音節上的私密感，一旦換成英文就鬆了；但 Walker 賭的是骨架還在，〈Göttingen〉那首當年連德國總理都拿去引用的和解之歌，重量並沒有掉。Joseph Atkins 重新編配，加進弦樂四重奏，卡巴萊就這樣撞上了藝術歌曲。

The Phoenix Trio — Tomorrow Is Today

Released發行

2026-06-19（Giant Step Arts；Bandcamp released 19 June 2026）— 補記

Take away the piano and the guitar and the harmony has to live somewhere else—in the ear, mostly, which is asked to supply the chords the trio only implies. Mark Turner (tenor), Joe Martin (bass) and Marcus Gilmore (drums) have been circling one another since the nineties, and the rapport shows in how little they insist. Recorded live in a small Brooklyn room, the set favors patience; the pleasures are in the tunes that hang a thought in the air an extra beat before resolving it. “The Fencer,” taut and unhurried, is the one I keep returning to. 薩克斯風手 Mark Turner、貝斯手 Joe Martin、鼓手 Marcus Gilmore（Roy Haynes 的外孫）組的三重奏，沒有鋼琴、也沒有吉他。少了負責鋪和聲的樂器，和絃就變成一種空氣裡的暗示，你得自己在腦子裡把它填起來——這正是好玩的地方。二〇二五年三月在布魯克林一間小俱樂部現場錄的，全是原創曲。〈The Fencer〉那股一直繃著、遲遲不肯解決的張力，是我一再回去聽的段落。三個人的默契可以追到九〇年代的紐約，聽得出來。

Brokenchord — Lima Echo Crack!

Released發行

2026-07-06（Bandcamp released 06 July 2026）— 今日落地（本週）

For two albums the Lithuanian producer Ernestas Kaušylas was a beatmaker; here he unplugs the machines and picks up a guitar. The Bandcamp copy calls it “Mogwai on the dancefloor,” which undersells the swerve into kraut-psych pop—now Beck, now the Velvet Underground, now something snarlier. A paranoid conceit runs through it, some MKUltra spook holed up in a hotel losing the thread between the radio static and the helicopters, and titles like “Liquid Mind Experiment” keep the fever going. Under all of it, a motorik pulse that refuses to quit. 立陶宛製作人 Ernestas Kaušylas 前兩張還是個 beatmaker，這張直接把機器全部關掉，改抱吉他。Bandcamp 形容得傳神：「Mogwai 上了舞池」，再一路擰成 kraut 迷幻流行，有時像 Beck 或地下絲絨，有時又像 Osees。專輯有個偏執的概念——旅館房間裡一個分不清幻覺與現實的特工，〈MKUltra Scarecrow〉、〈Liquid Mind Experiment〉這些曲名就是那個世界。底下那條 motorik 的脈動一直沒停。

Auscultation — IV

Released發行

2026-06-05（Bandcamp released 05 June 2026）— 補記

Six years of polishing and shelving, made in the endless rain of a Pacific Northwest winter. It plays as ambient until you notice the skeleton: “Mend” is really techno, “Pinned” is really dub, and Joel Shanahan’s hushed rhythms keep pulsing under synths that widen like fog. Cold music, but the warm kind of cold. Joel Shanahan（也就是 Golden Donna）的第四張，睽違六年。他說這張是邊做邊擱，在清醒與倦怠之間反覆磨出來的，太平洋西北下不完的冬雨全滲了進去。表面聽是 ambient，但別被騙——〈Mend〉底下藏著 techno 的骨，〈Pinned〉走的是 dub。低語一般的節拍在緩緩擴張的合成器下面推，冷，卻是有溫度的那種冷。

Oyubi — White birch burns

Released發行

2026-06-24（Bandcamp/TREKKIE TRAX；Mixmag「2026 值得關注 25 人」）— 補記

Nearly a decade of EPs, and only now a full-length—which turns out to be the point, since the Tokyo producer uses the long form to argue that footwork can hold an entire album’s worth of weather. The title borrows a Bon custom from Nagano, where white birch is burned to send off the dead; the record is, obliquely, for his father, who died when Oyubi was five, and it samples the sounds of the family house until private memory turns into rhythm. “Since I” shifts its kick patterns under a 160-bpm rush; “Komade-ike” reworks personal archive tape into something you could, improbably, dance to. An elegy with a pulse. 東京的 footwork 製作人 Oyubi 混了快十年，這才交出第一張全長。標題取自長野駒手池的盂蘭盆習俗——焚燒白樺，送走亡魂；他寫的是五歲時就過世的父親。專輯裡採樣了老家的聲響，把私人的記憶拆成節拍。核心是 juke／footwork 那種快而肉身的律動，但一路揉進 ambient、trip-hop、jungle、amapiano。〈Since I〉一百六十的 BPM 底下不斷換踏板，〈Komade-ike〉直接把私人檔案錄音重組成聲音。輓歌能跳，這是我今年少見的。