Daily Drops · Vol.112每日唱片 · Vol.112
He played his own binaural recordings back into a gallery and taped the walls answering. 一九七一年沒用上的詩稿，今年終於錄成了歌。
primitive percussion youth orchestra — gabble ratchets
- Label廠牌
- Forged River Recordings
- Format介質
- 4 頁 CD digipack + 數位（24-bit/44.1kHz）
- Released發行
- 2026-06-26（iTunes releaseDate 6789759570 `2026-06-26` + Bandcamp releases 行 + Halifax Courier 報道）
The orchestra is six children between seven and ten, pupils at Cornholme School, and the credits list them by first name only: alice, archie, eleanor, erika, jenson, tom. Mark S. Williamson, a former primary music teacher who also researches local folklore, started the group in 2016 on the principle that a school music cupboard already contains everything anyone needs. So: hand percussion, homemade bowed things, and the school's 1956 Kemble upright, which nobody has had tuned and which supplies the record with its particular sourness.
Speaker Music — Synoptic Audio
- Label廠牌
- Planet Mu
- Released發行
- 2026-07-10（iTunes releaseDate 1893606109 `2026-07-10`（GB store）+ Bandcamp released 行）
DeForrest Brown Jr. says this is the last record under the name, which closes out four albums for Planet Mu since 2019. It was made twice. The first pass happened at EMPAC in Troy, New York, spatialised through IRCAM's Panoramix and captured binaurally on a Neumann dummy head. Brown then took those files to a gallery at Emily Carr in Vancouver, played them back through four Genelecs and a sub, and recorded the result on an ambisonic mic — so the walls and ceiling of a room in British Columbia are, functionally, the third performer.
Mama Terra — Inner Space
- Label廠牌
- Acid Jazz
- Released發行
- 2026-07-17（iTunes releaseDate 1893346161 `2026-07-17` + Bandcamp released 行 + Acid Jazz 產品頁）
Marco Cafolla's Glasgow group assembled this across three cities — Glasgow, Los Angeles, Brooklyn — with Joel Hamilton engineering and Dave Collins mastering, which on paper reads like a recipe for something airless. It is the opposite. The strings are handled throughout by the Ayoub Sisters, a classical-crossover duo who play them with far less reverence than the arrangements invite, and Jeremy Pelt turns up on "The Observers" with the sort of trumpet line that sounds like it was recorded in one take because nobody wanted a second.
Tomo Katsurada (桂田智) & Jonny Nash — At The Emerald Pool
- Label廠牌
- Melody As Truth / Future Days Radio
- Released發行
- 2026-07-02（iTunes releaseDate 1895769927 `2026-07-02` + Bandcamp released 行）
They rented a barn in the Dutch countryside, chosen on the basis of how it sounded rather than how it looked, moved in the amplifiers, and blocked out three days in September 2025. They finished half a day early. That detail tells you most of what the record is: ten tracks of interlocking delayed fingerpicking, five of them with vocals split between the two men, and no evident anxiety about filling space. Mixed before Christmas, out in July.
John Holiday & Kevin J. Miller — Over My Head
- Label廠牌
- Pentatone（PTC5187583）
- Released發行
- 2026-07-17（iTunes releaseDate 6766645874 `2026-07-17` + Pentatone 產品頁 + Presto）
A countertenor's first solo album, twenty-one tracks, and the programme moves further than most recital discs would dare. It opens with a Hall Johnson spiritual, passes through Theo Morrison's Joyce settings and three world-premiere vocalises by Carlos Simon, collects four H. Leslie Adams songs and Robert L. Morris's Lyric Suite, and then Holiday does his own arrangements of "Strange Fruit", "Summertime" and "Fly Me to the Moon" as though they belonged in the same room as the rest.
Lara Downes, 9 Horses & Invoke — Hold These Truths
- Label廠牌
- Pentatone（PTC5187581）
- Released發行
- 2026-07-03（iTunes releaseDate 6769174240 `2026-07-03` + Pentatone 產品頁）
Twenty-two tracks, eighteen composers, gathered over two years of driving: California to New York, Vermont to Alabama. Ives and Copland are where you would expect them. Oscar Peterson and a Bill Evans reading of Bernstein are not. The anthology logic occasionally strains, but the sequencing is generous rather than dutiful, and the Stephen Foster arrangement — mandolin, violin, bass, courtesy of 9 Horses — is the track I would put on for someone who thinks they dislike this kind of project.
黃奇斌 (Ng Ki-Pin) — 虛華的夢想是一支刀
- Label廠牌
- HavingBoth CO. × 環球音樂臺灣 Universal Music Taiwan
- Released發行
- 2026-07-10（iTunes releaseDate 6781607868 `2026-07-10` + Blow 吹音樂 88815「今日推出」）
Seven years is a long time to be quiet. The band that made him well known here dissolved; his voice was damaged; the label situation resolved itself only last year. This is the first record he has written and produced entirely on his own terms, ten songs alternating between Taiwanese and Mandarin, and the singing carries the evidence of the injury rather than hiding it. Five music videos, made with the director who shot the band's biggest hit, run alongside it. The album is being sold on the idea of five kinds of male hurt, which is a heavier frame than the songs need.
田中ヤコブ (Jacob Tanaka) — 県央の憂鬱
- Label廠牌
- NEWFOLK
- Released發行
- 2026-07-22（iTunes releaseDate 6787908833 `2026-07-22` + OTOTOY News 130761）
Two of the thirteen titles here contain the word for melancholy. Track eleven gives the album its name and locates it in kenō, the inland middle of Kanagawa prefecture — a term with no glamour attached, which is presumably the point of using it. Track thirteen borrows Satō Haruo's title from 1919 outright. Apple has rendered the whole thing in English as Real Side of Kanagawa, which is not wrong and not right. Tanaka plays and records and mixes everything himself; the CD, three weeks behind the stream, adds live takes from 2020.
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