Faraquet
Biography
Faraquet's 2000 masterpiece "The View From This Tower" stands as one of the most criminally underrated albums in the post-hardcore canon, a sprawling 74-minute opus that perfectly captured the restless creative energy of three Washington D.C. musicians pushing against the boundaries of what aggressive music could be. The album's intricate interplay between Devin Ocampo's propulsive drumming, Chad Molter's melodic bass lines, and Jeff McLeod's angular guitar work created a sound that was simultaneously cerebral and visceral, technical yet emotionally resonant. Tracks like "Study in Movement" and "Cut Self Not" showcased the band's ability to seamlessly blend complex time signatures with infectious hooks, while the epic closer "Sea From Shore" demonstrated their capacity for building tension across extended compositions that never felt indulgent or overstretched.
Formed in 1997 from the ashes of several D.C. underground bands, Faraquet emerged during a particularly fertile period for the city's music scene. The trio had previously played together in Medications, but it was under the Faraquet moniker that they truly found their voice. Drawing inspiration from the mathematical precision of bands like Slint and Don Caballero while incorporating the melodic sensibilities of Fugazi and the experimental edge of groups like Polvo, Faraquet carved out a unique niche in the late-90s indie rock landscape. Their sound defied easy categorization, incorporating elements of post-rock, math rock, and post-hardcore while maintaining an accessibility that set them apart from their more abrasive contemporaries.
The band's origins trace back to the vibrant all-ages venue scene that had nurtured D.C.'s punk and hardcore communities throughout the 1980s and 1990s. Ocampo, Molter, and McLeod were all veterans of this scene, having cut their teeth in various local bands before coming together to form what would become one of the most innovative groups of their generation. Their shared musical vocabulary, developed through years of playing in overlapping projects, allowed them to communicate complex musical ideas with an almost telepathic understanding.
Faraquet's recorded output was relatively modest but consistently excellent. Their 1999 debut EP established their core sound, featuring the driving rhythms and interlocking instrumental parts that would define their approach. However, it was "The View From This Tower" that truly showcased their potential, earning critical acclaim from publications like Pitchfork and establishing them as standard-bearers for intelligent, forward-thinking rock music. The album's production, handled by the band themselves along with engineer Chad Clark, captured the dynamic range of their live performances while maintaining the clarity necessary to appreciate their intricate arrangements.
Live, Faraquet was a revelation. Their performances were marked by an intensity and precision that few bands could match, with each member contributing equally to the overall sonic tapestry. They toured extensively throughout the early 2000s, sharing stages with bands like The Dismemberment Plan, Q and Not U, and other luminaries of the D.C. scene. Their reputation as a live act helped them build a devoted following despite limited mainstream exposure.
The band's influence extended far beyond their modest commercial success. Musicians and critics alike praised their ability to balance technical complexity with emotional depth, and their approach to songwriting influenced a generation of post-hardcore and indie rock bands. Groups like Battles, Minus the Bear, and numerous other math rock acts have cited Faraquet as a significant influence on their own musical development.
Unfortunately, Faraquet's career was relatively brief. After releasing "The View From This Tower" and touring extensively in support of it, the band went on hiatus in 2001. Various reunion shows over the years have reminded fans of their considerable talents, but no new studio material has emerged. The members have remained active in music, with Ocampo going on to form Medications (reviving the name of their earlier band) and later joining the reformed Fugazi side-project The Evens, while Molter and McLeod have pursued various musical projects.
Today, Faraquet's legacy rests primarily on "The View From This Tower," an album that continues to reveal new layers of complexity with each listen. Their brief but brilliant career serves as a reminder of the creative possibilities that emerge when talented musicians push themselves beyond conventional boundaries, creating music that challenges both performers and listeners while never sacrificing the fundamental power of rock music to move and inspire.
