Daily Drops · Vol.114每日唱片 · Vol.114
On New Year's Day, Kate Carr traced London by altitude—from twenty metres under the Thames to the top of the Shard. 一卷擱了十六年的孟買母帶，補完成了給一位塔布拉大師的告別。
Kate Carr — Vertical London (New Year's Day)
- Label廠牌
- Persistence of Sound
- Released發行
- 2026-07-17（Bandcamp `releases 17 July 2026`，item_id 432900932，親測）
The premise sounds like a stunt and plays like a diary. Carr, who has spent years pointing microphones at overlooked places, set herself one rule for New Year's Day: go up. The album climbs from roughly twenty metres below sea level—the Victoria Line, the Greenwich foot tunnel with its joggers and echoes—to two hundred and forty above, in the bar near the top of the Shard, where a staff member welcomes visitors to "the View" as the city twinkles pointlessly below. In between there are delivery trolleys, a squeaky transport barrier she stops to celebrate, a man playing piano outside an Aldi, and a long, aggrieved queue for the London Eye, whose commentary she rates, accurately, as awful. What keeps this from being novelty is her ear for infrastructure: the electromagnetic hum of the DLR, which she declares the best-sounding train in London, becomes a drone you follow uphill. The titles read like text messages. The effect is of eavesdropping on a whole city and one tired, funny, attentive person at the same time.
Joe Hisaishi (久石讓), Royal Philharmonic Orchestra & Emmanuel Ceysson — Symphony No. 3 (Metaphysica) & Harp Concerto
- Label廠牌
- Deutsche Grammophon
- Released發行
- 2026-07-24（iTunes releaseDate 6777957798 `2026-07-24`，親測）
Hisaishi is so bound up with Miyazaki in most listeners' minds that it's easy to forget he writes concert music at all, and stranger still to find him on the podium of the Royal Philharmonic conducting a symphony he calls Metaphysica. The one to hear is the harp concerto. Emmanuel Ceysson is the soloist, and Hisaishi has said he wanted something "wild, ferocious," the opposite of the instrument's usual job as celestial wallpaper. He mostly gets it: the writing is percussive and combative, the harp less harpist-at-a-wedding than a boxer working a bag. The symphony reaches for Mahler and minimalism and, by the composer's own admission, borrows the grid-logic of a sudoku, which explains both its patience and its occasional chill. It's a great many ideas held at arm's length. But the ambition is real, and it is not a soundtrack.
Hertfordshire Chorus / David Temple — Parry: De Profundis · Elgar: From the Bavarian Highlands
- Label廠牌
- Signum Classics
- Released發行
- 2026-07-17（iTunes releaseDate 6774560625 `2026-07-17`；Signum SIGCD1005 官方頁確認，親測）
Hubert Parry is remembered, when he is remembered, for "Jerusalem," which is a bit like remembering Wren for a single doorway. This Gramophone Editor's Choice makes the case for his De Profundis, a twelve-part setting of Psalm 130 that spends its length climbing out of the depths it names. David Temple's Hertfordshire Chorus sings it with the slightly rough warmth of a large, amateur-rooted choir, which suits music about ordinary people asking to be raised up. The Elgar pieces around it—the Bavarian Highlands songs, The Snow—are lighter company, and welcome. Parry has stood in Elgar's shadow for a century; here, briefly, the balance tips his way.
Charles Lloyd, Zakir Hussain & Eric Harland — Sangam & Friends
- Label廠牌
- Blue Note
- Released發行
- 2026-07-24（iTunes releaseDate 6772378942 `2026-07-24`；Blue Note 官方確認，親測）
Sangam was the trio Lloyd built two decades ago with the tabla master Zakir Hussain and the drummer Eric Harland—one saxophone and two very different sets of hands, in conversation. Hussain died in December of 2024, and this record is partly a wake: it completes a set of recordings made in Mumbai in 2009 and opens the circle to more Indian players, so the old three-way talk becomes a crowded room. Some of the original's intimacy goes with the expansion. What arrives instead is closer to a procession—Lloyd's tone still ecstatic and searching at eighty-seven, Hussain's tabla, captured well before the end, threading through the ensemble like a pulse nobody wants to stop feeling. The miracle of it is hearing him still in the middle of the music, not eulogized from outside it.
Luke Haines — Izzy Wizzy Let's Get Busy
- Label廠牌
- Cherry Red
- Released發行
- 2026-07-10（iTunes releaseDate 6776988013 `2026-07-10`；Bandcamp 親測）
Leave it to Luke Haines to devote an entire album to the magicians of British children's television—the Sooty catchphrase that gives the record its title, the smell of a provincial magic shop, the sweaty light-entertainment conjurors of the nineteen-seventies. Haines has spent thirty years finding subjects nobody else would touch (nuclear bunkers, British wrestling, now this) and treating them with a scholar's seriousness and a vandal's glee. The songs are shaggy, tuneful, faintly menacing. You don't need to know who Tommy Cooper was to enjoy them, though it helps, and by the end you may be unable to hear "izzy wizzy" without a small chill. Reliable, in the best way: the man has a lane, and it is a strange one.
Mesh — No Fun At All
- Label廠牌
- Feel It Records
- Released發行
- 2026-07-24（Bandcamp `releases 24 July 2026`，item_id 1016581597，親測）
Five years after a home-recorded cassette, this Philadelphia four-piece turns in a proper debut, and the wait shows in the clarity. The bones are early British post-punk, spindly and tense, but Allison Durham's twelve-string keeps brightening the scowl into a jangle. "Atrophy" is the sunny one; "Violent Peasant" airs a landlord grievance in mock-medieval dress, which is a very Mesh way to be furious. The label sign-off tells you to spin it until your turntable breaks. On this evidence you might.
Mohamed Bourouissa — LILA
- Label廠牌
- PAN
- Released發行
- 2026-07-24（iTunes releaseDate 6769806487 `2026-07-24`；Bandcamp 親測）
Bourouissa is known as a photographer and visual artist, the kind whose work hangs in museums, and LILA, on the reliably strange label PAN, is his first album. Its organizing conceit is simple and a little vertiginous: twelve tracks, each named for a person in his life. The music is weightless and synthetic, threaded with Auto-tune that keeps fraying at the edges, as though the memories were arriving from somewhere with poor reception. A man who has spent his career fixing people in images here lets them dissolve into sound instead, which turns out to suit them. It's a portrait album you can't look at, only overhear.
川辺素 (Moto Kawabe / ミツメ) — 行方不明 (Missing)
- Label廠牌
- 自主製作（via TuneCore）
- Released發行
- 2026-07-01（iTunes releaseDate 6780739752 `2026-07-01`；TuneCore 本日配信確認，親測）
Kawabe plays guitar in mitsume, one of the steadier bands in Tokyo's indie middle distance, and 行方不明—"Missing," or "whereabouts unknown"—is the first record he has made entirely alone. He wrote, arranged, and produced all nine songs himself, and you can hear the solitude in them: the arrangements leave more air than a band would tolerate. It's quieter and more interior than mitsume's work, a sideman finding he has an inside voice. The title is the tell. A man who usually stands to one side of the frame steps out of it, and for a while can't be found.
Comments 留言