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Radical work of Margaret Chardiet strictly coincides with phases of her life. The artist treats sound integrated with her own body as a whole. To say that Pharmakon's music is a wall of sound and that Margaret is a representative of New York 's industrial scene is not enough. Her three albums released by Sacred Bones proved that she had mastered something more than precision and advanced emploi of forging noise. Pharmakon demonstrates something new, something different than just manipulated voice and sound. Something that definitely doesn't seem easy in the exploited area of dissected noise. Pharmakon is the music of self-therapy and…resistance, in the most literal sense, which reveals an inextricable bond with the author's states. The leitmotive of her second album, Bestial Burden (2014), was a serious surgery and recovery. A part of the material was made on a hospital bed. Multilayer sound accumulation contains scream, groans, pain, and also totally unusual rhythms of choking, convulsion, breath catching… the most realistic recordings of the body system and its disfunction. The major incentive was resistance and a defense agains the internal antibody. Bestial Burden is an acute documentary of the pathology and the fight against it. Just like the album mentioned before, the other ones, Abandon (2013) and Control (2017), also represent a similar type of interaction between the maker and the work. Pharmakon represents documents of personal confrontation, individual expression of sincerity, pain. Without any concessions to the listener's comfort.