Pharmakon | Devour | Album review
Review by: Jimmy Hutchinson
‘Devour’ is the fourth album from Margaret Chardiet’s recording project Pharmakon, and it was recorded live in the studio by Ben Greenberg from hardcore act Uniform. The listener is encouraged to engage with the live nature of the recording, and to that end the digital copy of this album is provided in two continuous sides as well as five individual tracks.
‘Homeostasis’ and ‘Spit It Out’ begin the proceedings in a sinister but fairly minimal vein, employing looped noise, electronic drones, indecipherable vocals and the occasional beat to establish a disquieting atmosphere. By ‘Self-Regulating System’ at the end of Side A, however, the album starts to sound (for all intents and purposes) like a building site. In the grand tradition of early Einstürzende Neubauten, whirring, screeching and distorted yelling are all present.
The second side continues in similar aggressive fashion with a deluge of feedback and further screaming. ‘Deprivation’ could be a ‘Metal Machine Music’ for the 21st century, except that the production values aren’t much higher than they were in 1975. The vocals on ‘Pristine Panic/ Cheek by Jowl’ take on an insistent, rhythmic quality over a repetitive mechanical whir before further chaos ensues, and this is probably the most fertile section of the album. The relentless noise calls to mind a factory methodically destroying itself – a vision which ties in with Chardiet’s stated theme of cannibalism and human self-destruction. (Jim Jarmusch’s new film The Dead Don’t Die explores similar thematic territory.)
Not for the faint-hearted then, but if you are interested in music that pushes extremes to explore concepts then this album may well be of interest to you. In an era of randomly generated playlists, it’s refreshing when artists still encourage their audiences to experience music in longer forms.