Rapid Cities – Machinery Saints

With today’s musical landscape so focused on melody, it’s always refreshing listening to bands that explore sound through off-key tunes and dissonant sounds.  While I’m not entirely well versed in this breed of what might be termed post-punk, I have run across several examples in the past.  For example, Auxes’ debut full length left a lasting impression last year, although its unconventional execution took me a while to warm up to.  Roughly a year later I now find myself reviewing New Jersey’s Rapid Cities, a post-punk outfit much in the same vein.

But there’s a difference between the aforementioned Auxes and Rapid Cities, and it’s very evident on Rapid Cities full-length debut, Machinery Saints.  Where Auxes really dedicated itself to what one might call a self-indulgent, almost pretentious “I-art-better-than-thou-mainstreamers” school of indie, Rapid Cities approaches dissonance and melody without favourtism.  True, on tracks like “Manhattan’s Hymn” vocalist Cass McGrath makes a point to sing out of key, and guitarist John Terry repeats unorthodox chord progressions – but on others, like “Jaunt on Dying Young,” the band shows that they aren’t afraid to flirt with the mainstream and infuse their tracks with a degree of melody.  They even conclude their album with a delicate Look Mexico-inspired backdrop, demonstrating their openness.  The effect results in an altogether interesting album that challenges expectations while holding attention.

McGrath’s delivery is a curious combination of styles best described as a rough and disjointed spoken word.  I imagine some listeners will turn up their nose at the idea, but those willing to entertain something a little different will find a vocal delivery that reinforces the music, and strengthens lyrical intent.  For example, “There is a Black Hole” is a cryptic track likely referring to personal conviction and the human experience.  Half way through the track the melody grinds to a halt, focuses in on repetition, and McGrath spouts out a seemingly incoherent list of items and actions in the most repetitive manner possible.  It’s not audibly appealing, but that’s the point.  It captures the frustrating, often haphazard array of pressures bombarding individuals every day.  Thankfully they don’t abuse this technique, quickly moving back into song before exhausting their audience’s patience.  It’s this type of lyrical-music connection that makes Machinery Saints such a curious product.

I’ll wrap up this review by mentioning that Machinery Saints is an undeniably dense listen.  I could have analyzed each song in agonizing detail – but that might have compromised my sanity.  There are so many contrasting styles and influences colliding at different trajectories and altitudes that the entire affair can be downright exhausting to keep up with.  This fact makes Machinery Saints a release I likely won’t throw on for a casual, leisurely listen.  Even so, there’s a lot to appreciate here, and I can’t help but advise fans of post-punk, and those with an open mind, to welcome Rapid Cities as a refreshing challenge to the status quo.