Thirty-two voices, placed less by counterpoint than by the geometry of a Salzburg cathedral 奧菲莉亞這次用客語唱起了嘻哈

淺堤 (Shallow Levée) — 沈默的鉅作

Released發行

2026-06-30（一手：Apple TW releaseDate 2026-06-30；Blow 吹音樂 88590 專題）

The Kaohsiung four-piece nearly broke up in 2024. What pulled them back, by their own account, was a theatre commission, and you can hear that near-collapse in how deliberately this third album is built — every arrangement sounds like a decision to keep going. The band sings in Taiwanese, and on "愛情氣象台" they hand a love song to the Korean free-jazz saxophonist Kim Oki, who spends three minutes bending it out of shape until the improvisation seems to grow up through the floor of the pop structure rather than sit on top of it. Elsewhere the Osaka songwriter Kimyō Reitarō turns up on "昨日の約束," and "在空檔寫詩" is written for the singer's grandmother, who died in December while the record was being made. They launched it with twelve sold-out nights at the Grand Hotel. A comeback that earns the word. 這支高雄樂團 2024 年一度要解散，把他們拉回來的是一次劇場合作。這段前情並非場面話，你在整張的編曲裡都聽得到那種「決定繼續下去」的謹慎，每一手都像重新確認過一次。十年，第三張，全臺語。最狠的一步在〈愛情氣象臺〉：他們把一首臺語情歌交給韓國自由爵士薩克斯風手 Kim Oki，讓即興不是鋪在流行歌表面，而是從歌的地板底下長上來，三分鐘裡把整首歌慢慢頂變形。〈昨日の約束〉找來大阪唱作人奇妙禮太郎客串；〈在空檔寫詩〉寫給主唱在錄音期間過世的祖母，收得很輕。他們用圓山大飯店連續十二場滿座替這張碟開場——一支唱臺語的樂團，把那個空間坐滿。這次「復活」兩個字，撐得起。

Kelela — new avatar

Released發行

2026-07-10（一手：Bandcamp album 頁 "released July 10, 2026"；Stereogum Album of the Week 07-07）

The most surprising thing on Kelela's third album is a guitar. After two records that treated the human voice as something to be dissolved into weather, she has spent this one reaching for nineties grunge and shoegaze fuzz, most plainly on "idea 1" and "linknb," where the distortion arrives like a memory she can't quite place. "point blank" is the odd one out and the best of them: a UK-garage skitter under metallic church bells, produced for the most part by Oscar Scheller. The guest list stays close to home (A.K. Paul, Fousheé, PinkPantheress on the drifting "the bridge"), but the album belongs to the collision at its center, an R&B singer who keeps grabbing for a fuzz pedal and, more often than not, catching it. 整張最意外的一件東西，是吉他。前兩張《Take Me Apart》《Raven》裡，她習慣把人聲化成一團天氣，這張卻一直伸手去抓九〇年代的 grunge 與 shoegaze 失真，〈idea 1〉〈linknb〉最露骨，失真像一段她說不清出處的記憶。全碟最好的一首反而是最不像的〈point blank〉：UK garage 的碎拍底下墊著金屬質感的教堂鐘，製作大半出自 Oscar Scheller。客席都是熟人（A.K. Paul、Fousheé、飄忽的〈the bridge〉上有 PinkPantheress），但真正撐起這張的，是它正中央那場碰撞：一個 alt-R&B 的招牌聲音，一次次伸手去抓失真吉他，而且多數時候真的接住了。

Ars Antiqua Austria / Gunar Letzbor / St. Florianer Sängerknaben — Biber: Vesperae a 32

Released發行

2026-07-17（一手：Apple releaseDate 2026-07-17；Harmonia Mundi / Qobuz 產品頁）

Heinrich Biber wrote for the peculiar architecture of Salzburg Cathedral, which has choir lofts scattered around the crossing like balconies at a wedding, and this thirty-two-part Vespers was arranged for that geometry rather than for any conventional idea of counterpoint. Letzbor and Ars Antiqua Austria put it back into that spatial logic: split choirs, cornetti and trombones, a small battery of trumpets and timpani that opens the whole thing with a ceremonial Aufzug barely a minute long. The record also carries the first-ever recording of a twelve-part Mass by Benedikt Anton Aufschnaiter, a name that survives mostly in footnotes. It is a lot of sound doing a lot of moving. The nine-minute "Laetatus sum" is where the room seems widest. Biber 是為薩爾茨堡大教堂那種怪建築寫的：唱詩席像婚禮包廂，散在十字交叉四周。這套三十二聲部的晚禱，排的是那座教堂的幾何，對位反倒其次。Letzbor 帶著 Ars Antiqua Austria 與 St. Florianer Sängerknaben，把它放回原本的空間邏輯——分置的合唱、木管號與長號、一小隊小號與定音鼓，用一段不到一分鐘的儀式性 Aufzug 開場。同碟還收了 Benedikt Anton Aufschnaiter 一套十二聲部彌撒的世界首錄，那是個大半隻活在註腳裡的名字。聲音很多，而且一直在移動；九分鐘的〈Laetatus sum〉是整個空間聽起來最寬的地方。開大聲，把窗戶打開。

Allison Russell — In the Hour of Chaos

Released發行

2026-07-10（一手：Apple releaseDate 2026-07-10；Concord / Fantasy 發行）

Russell answers chaos, as the title has it, with a crowd: eleven songs built alongside some twenty-eight players and singers, Norah Jones and Brittney Spencer and Joy Oladokun among them. It could have turned into a benefit-concert blur, and mostly doesn't, because the roots-soul arrangements keep their footing under all the company. "Chaos Theory," at just over five minutes, is where she lets the band stretch; the closer, "Good Omens," is a benediction that resists tidiness. A generous, populous record that treats collaboration itself as the argument. 專輯名叫「混亂時刻」，而她的答案是一群人：十一首歌，跟大約二十八位樂手和歌手一起搭起來，Norah Jones、Brittney Spencer、Joy Oladokun 都在名單上。這麼多客人，本來很容易糊成一場慈善義演的模糊，多半沒有，因為 roots-soul 的編曲一直穩得住腳，把所有人都框在同一個地面上。五分多鐘的〈Chaos Theory〉是她放樂團伸展的段落；收尾的〈Good Omens〉像一段不肯收得太整齊的祝福。一張慷慨、人多的碟，把「合作」本身當成論點。

邱舒 (Chiu Shu) — 正來尞

Released發行

2026-06-29（一手：Apple TW releaseDate 2026-06-29；Blow 吹音樂 88835）

Chiu Shu used to drum and sing backup in the band Lilium; her 2022 solo debut took the Golden Indie prize for best folk album. This one, sung in Hakka, works on a single conceit — she recorded most of the harmonies herself, so a song fills up with several of her at once, arguing and answering across mountain-song, rap, and plain monologue. On "講好个人咧?" she rewrites Ophelia as hip-hop, Hamlet's drowning girl given a modern woman's grievances and a beat to carry them. "有閒來尞" opens a door to Hong Kong, trading verses in Hakka and Cantonese with the band KOWLOON K. The opener returns at the end in a barer "candid" take, as if to show the theatre with the lights up. 邱舒以前在樂團百合花打鼓兼和聲，2022 年的個人首張《等路》拿過金音獎最佳民謠。這張全用客語唱，把戲只有一個，卻玩得很足：大部分和聲她自己錄，於是一首歌裡同時站著好幾個她，在客家山歌、饒舌、獨白之間互相搭話、互相拌嘴。〈講好個人咧?〉把哈姆雷特裡投水的奧菲莉亞抓出來，換上現代女性的怨氣和一段節拍，用客語唱成嘻哈；〈有閒來尞〉開一扇門到香港，跟樂團 KOWLOON K 客語粵語對唱。開場那首到末尾又以樸素的「率真版」再唱一次，像演完戲把燈打開，讓你看清楚那座臺子。

Giulia Semenzato & Jadran Duncumb — Corde di Luna

Released發行

2026-07-17（一手：Apple releaseDate 2026-07-17；Harmonia Mundi 產品頁）

An hour of nineteenth-century song scaled down to a voice and a plucked string. The Venetian soprano Semenzato and the lutenist Jadran Duncumb open, cheekily, with Rossini's "La Danza" arranged for voice, guitar, and a tambourine that Maxime Pidoux sneaks in around the edges. The revelation is Schubert's "Gretchen am Spinnrade," stripped of its churning piano and handed to a single guitar, the spinning wheel now a quieter, more private machine. The guitar gets its own turns too, in Mertz and Giuliani. A salon record, unashamed of the parlour. 一個鐘頭的十九世紀歌曲，縮小到只剩一把人聲和一根撥弦。威尼斯女高音 Semenzato 跟琉特／吉他手 Jadran Duncumb 開場開得調皮，用 Rossini〈La Danza〉的人聲吉他改編版，還讓 Maxime Pidoux 在邊上偷偷加一面鈴鼓。真正動人的是舒伯特〈紡車旁的葛雷卿〉：把那臺不停翻攪的鋼琴整個拿掉，只留一把吉他，紡車忽然變成一臺更安靜、更私密的機器。中段吉他也有自己的獨奏（Mertz、Giuliani）。整張不替沙龍音樂道歉，也沒必要。

Aisha Vaughan — Water World (EP)

Released發行

2026-07-17（一手：Apple releaseDate 2026-07-17；Bandcamp album 頁 "released July 17, 2026"）

Baby Rose — Yearnalism

Released發行

2026-07-10（一手：Bandcamp album 頁 "released July 10, 2026"；Bandcamp Essential Releases 07-10）

That low, smoked contralto again, the one everyone reaches for Nina Simone to describe. Twelve songs, guests kept to two (Elmiene on "Is This Love," Leon Thomas on "Friends Again"), and a closer called "Jasmine's Sonnet." It treats longing as a verb, which the title already told you. 又是那把像被煙燻過的女低音，大家一開口就拿 Nina Simone、Billie Holiday 來比。十二首，客席只留兩位（Elmiene 在〈Is This Love〉，Leon Thomas 在〈Friends Again〉），收在一首〈Jasmine's Sonnet〉。它把「思念」唱成一個動詞，這件事專輯名早就講完了。