Fredrik
Na Na Ni
(Kora)
Fredrik's debut is a tasty blend of cello, guitars and keyboard with some surprises here and there (like accordion, and drums that churn in the background instead of thumping up front). Other percussion bobs and weaves subtly, as bells round out melody on some tracks and blend in with harmonies on others. The band plays as a six-piece live, but the CD was recorded by just Fredrik and Lindefelt (first names only, please) though it has a full-band feel. This is music for listening to on headphones, not blasting down the highway. Enjoy. —David Riedel
Jose Ayerve
Nuclear Waste Management Club
(Pigeon Records)
Nuclear Waste Management Club is the first Jose Ayerve-helmed product since Spouse's excellent Relocation Tactics. These tales of twisted relationships—including angst-fueled rockers and bittersweet ruminations—are all winners. The gas mask on the cover feels like necessary protection against the toxicity of these romantic liaisons. There's a lot of heartache here, evident in titles like "Choke Back the Tears" and "One Failed Heart & Two Bad Lungs." The band is solid, and knows when to drive home the riffs and when to expose the raw nerves. Singer Anne Pinkerton's harmonies act as a lozenge to Ayerve's cracked, smoky vocals. The CD release party happens Nov. 1 at The Elevens. —Matthew Dube
Vijay Iyer
Tragicomic
(Sunnyside Records)
Anyone who thinks jazz has nothing interesting left to say hasn't paid attention lately. A remarkable crop of musicians has hit the scene, none more exciting than Vijay Iyer. He combines ingenious structures with fiery performances, fusing hypnotic rhythms, winsome melodies and interlocking lines into rigorously beautiful new forms. Tragicomic, which features his remarkable acoustic quartet, serves as a sampler of his expansive talents. It includes fragile ballads, thrilling rave-ups, playful meditations, tunes inspired by electronic rhythms, and even a Bud Powell tune. The album is his most complete statement to date, embodying complexity and immediacy, engaging the tradition while forging fearlessly ahead. —Jeff Jackson
Benjamin Taylor
The Legend of Kung Folk Part 1 (The Killing Bite)
(Iris Records)
Benjamin Taylor has his old man's pipes, but whereas James is the embodiment of smooth, Benjamin prefers sharp edges. He's also way hipper. "Wrong" is more drum 'n' bass than folk, "She's Gone" unfolds to programmed percussion, and "Wilderness" has reggae undertones. Many of Taylor's songs explore relationships gone weird. His antidote to that is a satirical bad boy anthem in which he confesses a preference for carnality over intellectual engagement. According to Taylor, the odd title is rooted in his desire to overcome his past learning and trust his inner yearnings. If this is a declaration of independence, I can attest that "Space" sounds more like recent Paul Simon than early James Taylor. —Rob Weir
