I've said it before, I'll say it again: Caracara is THAT band
September 17, 2019
Before Caracara embarks on their first full U.S. tour later this month, the dynamic Philly-based band share a new song today called “Dark Bells,” produced by Grammy-nominated engineer and producer Will Yip and available to stream today. Part glimpse into the ways of our past and part grim reality of our dystopian present, “Dark Bells” finds Caracara as sharp and formidable as ever.
“I had been reading about how industrialization brought about the relevance of keeping track of time as people moved from farms to factories. Ringing bells in factory towns dictated people’s every move long before anyone cared to know specifically what time it was,” vocalist/guitarist William Lindsay explains of the track.
“I think we’re still stuck in a similar system. We know what time it is but we’re still essentially governed by bells, only now they’re in our pocket and probably on vibrate. I wanted to write something about the enduring concept of being beholden to a new technology.
Caracara initially teamed up with Yip for their collaborative debut Better, an ambitious EP that immediately calls to mind the grandiose nature of bands like The National, Explosions In The Sky, and Bon Iver. Its title track is one to note; featuring guest vocals from Marisa Dabice of the band Mannequin Pussy, it’s a song that represents everything that William Lindsay set out to create the day this band was formed.
“We all share a common bond in that it is our goal to create lush and monumental moments with our music,” Lindsay explains of the band’s dynamic and formidable approach to songwriting. Joined by Carlos Pacheco-Perez, George Legatos and Sean Gill, the music on both the Better EP and their 2017 debut, Summer Megalith, feels effortlessly magnificent; Pitchfork even heralded the latter as “some of the most immediately cathartic indie rock of recent times.”
For the first time, Summer Megalith will be coming out on vinyl this fall via Yip’s Memory Music label, complete with a re-mastering done by Yip and re-imagined cover art.
Emerging from Philadelphia's burgeoning network of artists used to playing shows in basements, Caracara's sound was already too big for the rooms they were playing in. Early adopters at Pitchfork and Stereogum compared the album's ambitions to artists like Bon Iver & Wolf Parade, while understanding that the band's roots in the DIY, hardcore-adjacent Philly scene made more intense acts like Pianos Become The Teeth and Deafheaven just as likely influences.
Caracara has always had big dreams. They could have stemmed from the project’s genesis: the implosion of former bands, the impact of long-distance communication and travel in relationships, the inevitability of experimentation and expansion. Styles and symbols seem to shift throughout their debut LP, alternating from shimmering indie to whispers of neo-folk before relishing in the cathartic push of post-rock. This fluidity introduces a band with no point of origin, built from the mysterious clamor of noise as much as they are inspired by it.
Since Summer Megalith was initially released, Caracara have performed alongside Pianos Become the Teeth, Spirit of The Beehive, Kississippi, Mannequin Pussy, Remo Drive, Special Explosion, American Please Club and more. Time well spent playing these songs on the road have carved out a clear path for Caracara to continue their exploration of catharsis well into their very promising future.