MADBALL – NOT YOUR KINGDOM

Where do musicians go once they’re seemingly forgotten throughout the musical journey they step to? Well, New Yorkers will tell you perseverance is key to a long life, and if you think they should wrap things up, a middle finger will probably head your way. Who says that with age you have to stop doing what you love, or what you’ve dreamed of? Yeah, the passion continues. Rooted in Agnostic Front, Madball surfaced after the demise of the seminal hardcore outfit. We all remember Madball hitting the streets and the road with ‘94’s Set It Off, which the band did. Now, over 30 years later, the group returns with its 10th studio album, Not Your Kingdom (Nuclear Blast Records), which shows the band’s evolution, blending speed metal into its hardcore base. Still present is the group’s intensity and fervor, and it’s surrounded by an energy of controlled chaos. The band likes to get to the point, and the one-minute-long “Flammable” brings the band directly back to its roots, with melodic power chords, ready-to-die lyricism, and a cacophonic rhythm. Hands down, utterly Madball. The closing “Chase A Dream” is a clear example of the well-oiled machine the band is as well. Balcony punks will, of course, love this, wishing their knees allow them back in the pit!

JOSH DA COSTA – NEW WAVE GRAVEYARD

Ever feel like you’re just taking a trip down memory lane, without having any real memories? It’s possible the matrix might be playing tricks with our minds, reflecting on situations that never happened. Or did they? It leaves you confused; hell, it leaves me confused, but somewhere in that complex bewilderment we still find comfort in the familiar that seems to engulf everything surrounding it.

Josh Da Costa is no stranger to music, with a history of performing in both NY and LA. The bi-coastal musician just released his new album New Wave Graveyard (Stones Throw), and it might not be what you expect, while also providing everything you’ve been awaiting. Da Costa seems to dig deep into a well of uncharted territory while also remaining easily recognizable. He kicks things off with “Skygirl,” a Brit-pop-infused delight that includes a grooving rhythm with an instantly memorable guitar chording that’s never going to let go. It’s the gum at the bottom of your shoe you keep stepping in. And you don’t mind it because the squish and stickiness of it all feels good with every step. Da Costa’s voice is like cascading icicles, and with every word he utters, you’re touched by the melody. While his lovelorn wording may border on what might be expected, it’s fitting. You can’t hate a love song when it’s packaged so well within the song itself. He then moves to an 80s-like stylish brat pack alternative level with “Prove Me Right.” Down to the synth work and guitar effects, it’s as if the song was culled from a moment in time; very American but very English as well.

One thing about Da Costa though, is he can’t be easily pigeonholed while at the same time, you’re grasping at his ideas, which is like I offered previously; it does seem like we’re closely acquainted with it. “Cordelia” might have you thinking “I’ve heard this before,” but no, you haven’t. The opening power levels – others are kicking themselves for never coming up with it as Da Costa picks at notes across his guitar. It’s all set to stun and does. Maybe it’s just the compressed sound of the guitar that throws it all off course, which is course-corrected, but within the confines of Da Costa’s songwriting, again, stuns like on “Tissues.” It’s his way with melody and the laid-back delivery of his voice that intertwines everything perfectly together. The new wave is sometimes in full effect, like on the Peter Hook-like “Slip By,” but then again I’m not sure if it was Hook being mimicked here or something – someone – else. Either way, the manner in which he’s pieced everything together might have left the song dated but not here. It’s timeless.

Da Costa went the way of his passion with New Wave Graveyard and through his music we see nothing is dead anymore. Either that or it was never unalive to begin with. The music on this release is invigorating and exciting. Yeah, this is another chapter of music that’s being rewritten, and that’s not easy to do.

REZN – CYCLES IN THE INFINITE DREAM

We all probably tell ourselves the same thing over and over again when it comes to music, as we  attempt to navigate the variety of styles we’re bombarded with. Rarely should we prejudge anything that comes across our desks or stereos because of someone else’s opinion. Yes, I know, it probably defeats the purpose of sitting here and penning this down with the clickity clack of my keyboard.

Chicago’s REZN seems like a different beast altogether as the group has gained ground the past 10 years or so, delivering thick, heavy sonic blasts which continue on Cycles In The Infinite Dream (Sargent House). Initially, it reels you right in, and you’ll find yourself covered in swaths of melody and heavy-handed guitars. While it might be heavy, there’s a delicateness to the songs comprised throughout the album. The band isn’t attempting to beat you over the head with its fiery explosiveness, instead digging deeper, hoping you’d do the same. I get that, and you find it within just about every song. “Transient” is controlled chaos, surrounded by melody and heavy riffs as Rob McWilliams’ voice explodes off this musical canvas. The rhythm is powerful and transports listeners off world, which is what we all want. There comes a point though when it all begins to meld into itself and Cycles sounds like more of the same for REZN. I may be getting ahead of myself, but yeah, it seems that way.

I’m hit with a sameness throughout Cycles like I just mentioned, but then some songs are unexpected diamonds in the rough. “Primal Thread,” while still clutching onto the same sound and style, differs slightly. It’s still over the top, filled with unbridled power but 3 minutes in, dissonant notes fly right in along with a distorted bassline taking the song in another direction altogether. There’s a slight pause before the band erupts again with chilling effect! Hell yes! Even the expansive “Terra Preta,” coming in at 7 and a half minutes, spins circles around conventionality. It’s almost exhausting but it’s exhilarating.

Left between a rock and, well, another rock, Cycles In the Infinite might be good for shorter spurts. I’m talking about for me, maybe not for you, but for me. There are those moments where REZN does some amazing things and no one can take that away from them. I’ll be the first person to say that yes, this is a band to be reckoned with.