Pharmakon - Contact - COMPACT DISCS [CD]

Devour marks the fourth full-length record from Margaret Chardiet's project Pharmakon and her most intense output to date. Like her previous albums, Devour comes with a strong concept that is exorcised throughout the five demolishing tracks on the album, using imagery and language of self-cannibalism as allegory for the self-destructive nature of humans. Each of the five songs echoes a stage of grief associated with this cyclical chamber of self-destruction and the chaos surrounding us that leads us to devour ourselves in an attempt to balance the agony. The album was recorded by Ben Greenberg (Uniform) and is the first Pharmakon album recorded live in studio. The A and B sides were each recorded as a continuous take with vocals from start to finish, marking a totally new process for the artist that allows the ferocity and immediacy of her live performance to resonate throughout. Devour also explores new sonic territory, with denser electronics, groovier hooks, and moments of her most unhinged vocal deliveries to date. As one of the premiere vanguards of modern industrial and power electronics, Chardiet continuously pushes the genres and everyone involved in them, and with the of Devour, she has once again changed the game. Artist Statement InchDevourInch uses self-cannibalization as allegory for the self-destructive nature of humans; on cellular, individual, societal and species-wide scales. In our cells, our minds, our politics and our species, humans are self-destructing. But this behavior does not happen in a vacuum. It is an instinctive inward response to a world of increasing outward violence, greed, and oppression. Turning these wounds toward ourselves can be seen as an attempt at Inchbalancing feedbackInch, within a never-ending positive feedback loop of cause and effect. With this view, the blame is placed not within the individual, but with the world they

Maggot Mass, the fifth full-length album by Pharmakon on Sacred Bones Records, marks theproject's return after a five-year hiatus. This album signifies a departure from the original rules andstructures established by Margaret Chardiet for Pharmakon, evolving into a new form. It retainsthe project's experimental roots in power electronics and noise while incorporating industrial andpunk influences.The album stems from a profound disgust with humanity's dysfunctional relationship with theenvironment and other life forms. It explores the loneliness resulting from this broken bond andchallenges us to acknowledge our personal and systemic responsibility.What peace can we make with privilege when the true cost of our comfort is not measured indollars but in death? How can we reconcile with death when we impose the same hierarchicalstructures on it that we do in life? Is life worth living in the isolation of this self-imposed speciesloneliness?Humans often measure worth by accumulation-money, assets, objects-mistaking this for powerand influence. Western heritage dictates a hierarchy, placing humans at the top, separate from thenatural world. This delusion turns bodies into objects, land into property, and people into expendable tools.If our value were instead determined by our contribution to the ecosystem, who could claim thata human is more valuable than a maggot? Maggots recycle death into life, breaking down matterand nourishing new growth. They transform into flies, pollinating plants and sustaining the Earth'sflora. In contrast, humans pollute rather than pollinate, with a select few profiting from exploitation at the expense of biodiversity and the well-being of many.In grappling with grief and loss on both personal and global scales, Margaret sought solace in theidea of rebirth through death, celebrating the beauty of regeneration through decay. However, shehad to c

Vinyl LP pressing includes . North Carolina-based ensemble Chatham County Line's eighth studio album, Sharing The Covers is, at it's core, a tribute to those whom the band hold dear, and a chance for the group to perform modern and traditional classics in the bluegrass-style they're known for best. On the 13-track collection, Chatham County Line takes the familiar and adds a touch of originality to create a wholly new and inventive roster of covers by Tom Petty, Alton Delmore, John Lennon, The Louvin Brothers, Beck, James Hunter, Wilco and more. Recorded at Durham, NC's Overdub Lane studio, where they cut their first album, where 2010's Wildwood was mixed, and where a few tracks from 2016's Autumn were recorded, Sharing The Covers was engineered by Chris Boerner, who also engineers the band's live shows.