补 纽约 Experimental Noise, Power Elec, Industrial - Pharmakon 2CD FLAC/BD

第二上方

没错，这个计划的名字叫 Pharmakon，Discogs 上的介绍是  Experimental Noise/Industrial project.


主脑是 Margaret Chardiet 生平也很简单 New York born musician. Founding member of the Red Light District collective in Far Rockaway, New York. She has been active in the experimental scene since she was seventeen.


但由于听感十分震撼，特地去了趟 https://pharmakon.bandcamp.com/music 找到四张录音室的官方介绍。


除了这 4 张，团体还有3张EP和一张小型Live以及一张Collaboration 2009 - HRU, Pharmakon & Throat - Inside and Out。


2013年第一张专辑的介绍<Abandon>
Margaret Chardiet was born and raised in New York City. As a founding member of the Red Light District collective in Far Rockaway, NY she has been a figurehead in the underground experimental scene since the age of seventeen. She points out that the environment there amongst so many other experimental artists (amongst them Yellow Tears & Haflings) inspired her to keep making increasingly challenging work. She describes her drive to make noise music as something akin to an exorcism where she is able to express, her “deep-seated need/drive/urge/possession to reach other people and make them FEEL something [specifically] in uncomfortable/confrontational ways.” Engineered by Sean Ragon of Cult of Youth at his self-built recording studio Heaven Street, Abandon is Pharmakon’s first proper studio album and also her first widely distributed release.
credits
released May 13, 2013


2014年第二张专辑的介绍<Bestial Burden>
Four days before New York noise musician Margaret Chardiet was supposed leave for her first European tour as Pharmakon, she had a medical emergency which resulted in a major surgery. Suddenly, instead of getting on a plane, she was bedridden for three weeks, missing an organ.


“After seeing internal photographs taken during the surgery, I became hyperaware of the complex network of systems just beneath the skin, any of which were liable to fail or falter at any time,” Chardiet said. “It all happened so fast and unexpectedly that my mind took a while to catch up to the reality of my recovery. I felt a widening divide between my physical and mental self. It was as though my body had betrayed me, acting as a separate entity from my consciousness. I thought of my corporeal body anthropomorphically, with a will or intent of its own, outside of my will's control, and seeking to sabotage. I began to explore the idea of the conscious mind as a stranger inside an autonomous vessel, and the tension that exists between these two versions of the self.”


Consumed by these ideas, and unable to leave her bed, Chardiet occupied herself by writing the lyrics and music that would become Bestial Burden, the second Pharmakon LP for Sacred Bones Records. The record is a harrowing collection of deeply personal industrial noise tracks, each one brimming with struggle and weighted with the intensity of Chardiet’s internal conflict.
credits
released October 14, 2014


2017年第三张专辑的介绍<Contact>
The release date of Contact marks the ten-year anniversary of Margaret Chardiet’s project, Pharmakon. While working on her newest release, she began to evaluate the project as a whole. Though the content of each record has been very different and specific, the pervading question, which has underlined them all, is what is means to be human. Her last album, Bestial Burden, focused on the disconnect between mind and body, looking at the human as an isolated consciousness stuck inside of a rotting vessel. For Contact, she wanted to look at the other side of the spectrum – the moments when our mind can come outside of and transcend our bodies.


Because an album is itself an object, she struggled with how to convey the transcendence of the physical, through a physical medium. She started to study trance states and equate her live performances to them. In trance states, music and the body are used to transcend the physical form and make contact with some outside force. In the live setting, she used sound and her body to create an exchange of energy and make contact with outside forces - humanity, empathy, the audience. This energy/empathy exchange has always been at the heart of a Pharmakon performance, but she felt that on records, it wasn’t translating. They were one-sided and flat – declarations...  more
credits
released March 31, 2017


2019年第四张专辑的介绍<Devour>
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 release of Devour, she has once again changed the game.


Artist Statement:


“Devour” 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 “balancing feedback”, 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 must contend with, and a society that is designed to fail them - to keep them gnashing and wailing, inflicted with an all-devouring hunger that inevitably turns in on the self. Those that pit them against each other grin from the sidelines, bellies full. Those who see beyond the veil need to obscure the horrid sight by any means necessary, but respite is always brief- nothing can dampen the glare from behind the veil. This album is dedicated to all who were lost to their own demise, all who have been institutionalized; whether in prison, psychiatric facilities, or drug rehabilitation. It is for all those ostracized by and isolated from a totality which chews them up alive in a self-cannibalizing caste system. Here, where martyrs, slaves, and pharmakos are not eradicated, but simply called by another name. “ABOUT THE SHALLOWNESS OF SANITY”... To be well adjusted in this system is to be oblivious and unfeeling. This is for the rest of us, who understand that chaos, madness, pain and even self-destruction are natural and inevitable responses to an unjust and disgusting world of our own making.  

released August 30, 2019


基于个人习惯，音乐格式 AAC 首选，然后 MP3，这里是不得已才拿了这支团体 2017、2019 两张 FLAC，所以对剩下7CD感兴趣的可以移步 MP3 区拿。

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tower_young

非常不错哦啊！~

九两

一字没看懂 下了听

smart44

尝试一下试验工业电子，感谢分享

百雀1312

非常感谢您的分享  谢谢

无尽的沉寂

封面太有意思了，下了听听，感谢分享

asozan

工业实验非常喜欢devour 感谢分享