There are all sorts of ‘mood sectors’ in punk, hardcore, and indie. For some bands, it’s all about escapist fun, others, an encompassing sense of brutality and all-out heaviness, even if its mostly a facade. And then there are the super-serious thinkers, and emotional outputters. The ones weaned on a FUGAZI discography, a liberal arts degree, and a van that’s been through hell and back. With my apologizes for crude stereotyping, RAPID CITIES, are part of the pensive class, and they’ve got the hefty, droning bass lines, arching guitars, scatter-shot drumming and thoughtful (if not depressing) lyrics to prove it. Machinery Saints is a tumultuous endeavor that brings to mind two DC area bands that wore their punk and post-hardcore influences well – HARAM (for the heavier moments), and A DAY IN BLACK AND WHITE (for all things off-kilter, but systematically still very listenable). Lead singer Cass McGrath isn’t a dominant presence – he’s more like a director of well placed words, shouts, yelps, and other chatter. With guitarist John Terry also contributing vocals, the band’s already messy sound can get downright complicated. But RAPID CITIES aren’t residing overhead. There’s no pretense, no forced moments, which allows this 35 minute trip to take root and hold. Machinery Saints wouldn’t sound right if played on an elevated six foot stage before 1200 people, but the songs are a perfect match for humid basements, dim music clubs, and a cramped college food co-op… but don’t count on seeing a smile on the faces of anyone involved.

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