Daily Drops · Vol.113每日唱片 · Vol.113
At seventy-seven, Uchida lets the hall keep the mistakes in Beethoven's last three sonatas. 五年，換來十六分鐘：Nick Hakim把一段最壞的日子壓成十二首歌。
Mitsuko Uchida (內田光子) — Beethoven: Piano Sonatas, Opp. 109, 110 & 111 (Live at Suntory Hall, Tokyo, 2025)
- Label廠牌
- Decca
- Released發行
- 2026-07-24（iTunes releaseDate 6766494436 `2026-07-24`）
Uchida recorded these three sonatas once before, in a studio, roughly twenty years ago, and for a pianist whose reputation rests on control it was a strange body of work to leave alone. Now, at seventy-seven, she returns to them in front of an audience at Suntory Hall and lets the room in. The Op. 111 Arietta is the test she has set herself: those long variations that thin the theme down until the trills come loose from the beat and the music seems to be listening to something the rest of us cannot hear yet. On a studio take you would edit toward the ideal. Here she keeps the small hesitations, the places where a chord arrives fractionally late because a human being decided, in the moment, to wait. It is the sound of a great player agreeing, finally, to be caught in the act.
Vadim Gluzman & Friedemann Eichhorn — Schnittke: Complete Works for 2 Violins
- Label廠牌
- Naxos
- Released發行
- 2026-07-24（iTunes releaseDate 1896398519 `2026-07-24`）
There is a small joke folded into the title. Schnittke, the great polystylist, barely wrote for two violins, so a complete edition fits on a single disc and still has room for his Mozart forgeries. The pleasure is in the seams: a phrase that behaves like Haydn will suddenly take a semitone it has no business taking, or a tango accent will shove the bar line sideways. Gluzman and Eichhorn play it without irony, which is the right call, letting the styles collide on their own. 標題裡藏了個小玩笑。施尼特凱（Alfred Schnittke，1934–1998）是二十世紀「多風格拼貼」的代表，可他幾乎沒為兩把小提琴寫過什麼，於是這張「全集」一片 CD 就收得完，還騰得出位子放他那幾段戲仿莫札特殘稿的段子。
IAN SWEET — Shiverstruck
- Label廠牌
- Polyvinyl
- Released發行
- 2026-07-24（Bandcamp releases 行「releases July 24, 2026」，subagent 一手核實）
Jilian Medford made her fifth record in a year when her own name stopped belonging to her. She has said that AI-generated covers credited to IAN SWEET began appearing on streaming services, filed as if they were official, so that part of her job became telling listeners which songs were actually hers. A production company lifted her music for a film trailer and then offered to pay only if she signed away the right to talk about it; she declined. Shiverstruck, made with Ben H. Allen, could have curdled into a grievance and instead sounds oddly buoyant, the guitars bright and overdriven, the hooks arriving on schedule. The subject underneath is quieter and worse: what it means to be an independent musician in 2026, when the counterfeit reaches the shelf before you do. 先說背景。Jilian Medford 以 IAN SWEET 名義的第五張，是在她自己的名字開始不屬於她的那一年做的。她講過兩件事：串流平臺上冒出 AI 生成、掛著「IAN SWEET」的假翻唱，被當成官方發行上架，她得反過來替聽眾澄清哪些歌才是她的；另有製作公司未經授權把她的音樂放進電影預告片，事後只肯在她「簽保密協議」的前提下付錢，她拒絕了。
MOULD — Hoping As A Coping Mechanism
- Label廠牌
- 5dB Records
- Released發行
- 2026-07-24（Bandcamp releases 行「releases July 24, 2026」，subagent 一手核實）
A Bristol three-piece arrives with a debut that describes itself as Interpol raised in the English rain, cold guitars and a half-spoken vocal, and they flew a producer over from Los Angeles to get the chill exactly right. The sharpest track catalogues a minute of doomscrolling: a joke video about a sausage, then Nigel Farage, then an advert, the whole gaudy sequence engineered to leave you slightly stupider than it found you. Thirteen songs of that, played straight, with a dry humor that never tips into a wink. It is a first record that already knows what it is annoyed by. Bristol 三人組的首張全長，十三首。他們給自己的參照系是「Interpol 在陰雨的英國長大」——冷硬的吉他、半唸半唱的主唱，為了把那股寒意做準，還把製作人 Sean Oakley 從洛杉磯請了過來。
atmos bloom — Everythingness
- Label廠牌
- Spirit Goth（SG88）
- Released發行
- 2026-07-24（Bandcamp releases 行「releases July 24, 2026」，subagent 一手核實）
A London duo's first full-length, and it wears its record collection openly: DIIV, Ulrika Spacek, a little of Broadcast's chilly glamour. Three singles trailed it through the spring, each one a wash of guitar with a melody surfacing halfway through like a face behind fogged glass. Nothing here reinvents the form. It just does dream-pop with enough conviction that you stop asking it to. 倫敦 dreamgaze 二人組（Tilda Gratton、Curtis Paterson）的首張全長。三首先行單曲從春天鋪到夏天，每首都是一層吉他霧，旋律要到中段才浮上來，像一張隔著起霧玻璃的臉。收藏架擺得很誠實：DIIV、Ulrika Spacek、一點 Broadcast 的冷豔。
foodman (フードマン) — HIKARIGASASHIKOMU
- Label廠牌
- Hyperdub
- Released發行
- 2026-07-24（iTunes releaseDate 6779274257 `2026-07-24` + Bandcamp）
Takahide Higuchi builds tracks the way someone might set a table in the dark, placing each object by feel. His footwork has always refused the grid; the kicks land a breath early or late, the synths sound as if they have been left out in the rain. The title translates as light coming in, and Hyperdub frames the album as the far side of the 2023 EP that went looking through his own creative gloom. You can hear the turn. Where that record felt like a search, this one keeps finding small clearings — a chord that resolves, a beat that settles for a bar before wandering off again. It is bright without being cheerful, which is the harder thing to make.
Nick Hakim — I Can See
- Label廠牌
- Earseed Records
- Released發行
- 2026-07-24（iTunes releaseDate 6769136946 `2026-07-24`）
Twelve songs, five years of work, sixteen minutes of music. Hakim assembled his fourth album out of bedroom demos made after a record deal and a long relationship ended at roughly the same time, then finished it at a ranch studio in the Texas desert. The brevity is the statement: most of these are fragments, soul sketches sunk in reverb, gone before they can become anything as sturdy as a single. I want to sit with it a few more times before I decide whether that is generosity or evasion. 十二首歌，做了五年，總長十六分鐘。這三個數字擺在一起就是他的宣言。唱片合約與一段長期關係差不多同時結束，Nick Hakim 在臥室錄下一批 demo，後來搬到德州 Tornillo 沙漠裡的 Sonic Ranch 與紐約幾間錄音室完成第四張。
Kirk Barley — Arc
- Label廠牌
- Marionette
- Released發行
- 2026-07-24（iTunes releaseDate 6783846978 `2026-07-24` + Bandcamp + The Quietus 評論）
The Yorkshire producer tunes his fourth album to just intonation and sequences it off the grid, so the rhythms breathe rather than click. What keeps it from being a theory exercise is the palette: gamelan metallophones, a clarinet, a guitar, all dissolving into glassy pads until you lose track of which sound is acoustic. Terry Riley and Jon Hassell are the obvious ancestors, with a bassline of dub techno underneath. Play "Fret (Haar)" and listen for the metallic shimmer that never quite lands on a downbeat. 約克郡出身，本名下的第四張，Marionette 首作，九首。他用純律（just intonation）調音、脫網格（off-grid）排序，讓節奏是呼吸出來的，而不是打點打出來的。
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