The Daily Dig

Northern Irish duo Bicep's third studio album, out on Ninja Tune. Eighteen tracks span rave, breakbeat and ambient, with their strongest guest roster yet — Eartheater, Kehina, Soarr, Clark and more — showcasing the full range of Bicep's electronic DNA. The album is said to shift character depending on when, where and how you listen, revealing new details on every pass. Out January 29, 2027; THT also has a 300-copy glow-in-the-dark edition bundled with a beanie.

北愛爾蘭雙人組 Bicep 的第三張錄音室專輯，由 Ninja Tune 發行。18 首曲目橫跨 rave、breakbeat 與 ambient，集結 Eartheater、Kehina、Soarr、Clark 等歷來最強的合作陣容，展現 Bicep 電子音樂的多元 DNA。據說這張專輯會隨聆聽的時間、地點與方式呈現不同面貌，反覆聆聽總有新細節。2027 年 1 月 29 日發行，THT 另有限量 300 套夜光版附針織帽。

One of the most important early releases on Chicago's International Anthem, free jazz collective Irreversible Entanglements' self-titled debut returns in an IA11 edition for the label's 11th year. First issued in 2017, it pairs tense sax-and-trumpet improvisation and driving bass and drums with Moor Mother's socially charged poetry, carrying forward free jazz's roots as a sound of Black liberation — echoes of New York Art Quartet with Amiri Baraka. The reissue adds an 8-page insert with unseen session photos and new notes by bassist Luke Stewart.

芝加哥獨立爵士廠牌 International Anthem 早期最重要的作品之一，自由爵士團體 Irreversible Entanglements 的同名首作，趁廠牌邁入第 11 年推出 IA11 紀念版。2017 年首發，薩克斯風與小號充滿張力的自由即興，搭配強勁的貝斯與鼓，加上 Moor Mother 帶社會批判的詩歌朗誦，承接自由爵士作為黑人解放之聲的核心精神，可見 New York Art Quartet 與 Amiri Baraka 的影子。新版附 8 頁內頁、未公開錄音照片與貝斯手 Luke Stewart 的新解說。

An ultra-obscure 1970s private press from Oakland, California — recorded in 1974, released in 1976 in a run of just 500, and now a holy-grail collectible. Led by saxophonist Jeff Jones, sax, electric piano, guitar and percussion intertwine in deep spiritual jazz with shades of soul and funk; opener "Monica" was sampled by DJ Shadow on Endtroducing…. The whole album was cut live in one take, the product of three years of rigorous rehearsal. Reissued by Frederiksberg Records with liner notes by Karl Evangelista.

加州奧克蘭 1970 年代極冷門的私人發行盤：1974 年錄製、1976 年發行，僅壓 500 張，原版被收藏家視為聖杯。由薩克斯風手 Jeff Jones 帶領，薩克斯風、電鋼琴、吉他與打擊樂交織出濃厚的靈性爵士氣息，兼有靈魂與放克色彩；開場曲〈Monica〉曾被 DJ Shadow 取樣於《Endtroducing…》。整張專輯在錄音室一次演奏完成，背後是三年反覆排練的默契。Frederiksberg Records 2025 年再版，附 Karl Evangelista 撰寫的內頁文章。

Benny Sings' new album, again on Stones Throw, continues his warm melodies, soft keys and jazz- and soul-tinged grooves — easygoing on the surface, with subtle harmonic turns underneath. His duet with Baby Rose sets her deep, emotive voice against his light, bright tone to lovely effect, while "Parachute" has The Whitest Boy Alive's clean guitar rhythm and uncluttered arrangement.

Benny Sings 全新專輯，同樣由 Stones Throw 發行。延續他擅長的溫暖旋律、柔和鍵盤與帶爵士、靈魂色彩的律動，聽來輕鬆卻藏有細緻的和聲變化。與 Baby Rose 的合作曲中，她低沉而富情感的嗓音與 Benny 輕柔明亮的聲線形成美妙對比；〈Parachute〉則有 The Whitest Boy Alive 那種乾淨的吉他節奏與不塞滿的編曲。

Felbm is the solo project of Dutch multi-instrumentalist Eelco Topper, released by Soundway Records — think The Sea and Cake's light jazz rhythms meets Air's retro-psychedelic instrumentals. Side A, Tape 1, is jazz-based, with piano lines and skittering drums over a gentle Latin lilt; Side B, Tape 2, drifts into neoclassical and psychedelic territory, sparser and cinematic. Four-track tape recording keeps it warm, and the double-front sleeve gives each side its own cover.

荷蘭多樂器演奏家 Eelco Topper 的個人計畫 Felbm，由 Soundway Records 發行，聽來讓人想起 The Sea and Cake 輕巧的爵士節奏與 Air 復古迷幻的器樂氛圍。A 面《Tape 1》以爵士為基礎，鋼琴與細碎鼓點交錯，帶輕巧拉丁律動；B 面《Tape 2》轉向新古典與迷幻，旋律簡約、具電影配樂般的空間感。四軌磁帶錄音保留溫暖質感，封套採雙正面設計，分別對應 A、B 兩面。

Mal Waldron — Billie Holiday's last accompanist, famed for Left Alone — recorded prolifically in Japan from the '70s, and this trio date followed his collaboration with Kazutoki Umezu. Bookended by originals, it reshapes pop standards in his own language, from Michael Jackson's "Beat It" to Quincy Jones' "Everything Must Change"; his take on Erik Satie's "Gymnopédie No. 2" rewards repeat listens. Ed Blackwell on drums and Reggie Workman on bass add a beautiful low hum.

曾為 Billie Holiday 最後伴奏、以《Left Alone》聞名的 Mal Waldron，70 年代起在日本留下大量錄音，這張是他與梅津和時合作隔年的三重奏，選曲流行卻不落俗套。首尾由自創曲包覆，其餘以個人語法大幅改寫名曲，包括 Michael Jackson〈Beat It〉與 Quincy Jones〈Everything Must Change〉；他版本的 Erik Satie〈Gymnopédie #2〉尤其值得一聽再聽。Ed Blackwell 的鼓與 Reggie Workman 的貝斯低鳴同樣是亮點。