![]() ![]() ![]() That was the case for ‘No More Pennies’ and ‘I Dont Need You’. Its always really nerve-wracking showing people songs at this stage because you don’t know what they’re gonna think of them, but it feels really good when everyone immediately likes it. Usually the next morning I wake up and record the drums and sometimes lyrics, and then I send the songs to the band. ‘I Dont Need You’ was pretty much one take for everything, ‘No More Pennies’ I spent more time on because i really wanted to capture the whole idea. ![]() Some demos I spend more time on then others. I get most of my ideas for songs late at night for some reason, and if I record something that I think is really good, I drive to Tim’s house and force him to wake up and get tacos with me so he can hear it. I would get home from my girlfriends house at about 11pm and start recording, waking everyone up. I made them in one of the bedrooms of my two bedroom apartment, while my mom and brother (and the landlord who’s room is directly under my room) were sleeping. 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.Here are some demos of our songs off our latest album, Devour You. To be well adjusted in this system is to be oblivious and unfeeling. Here, where martyrs, slaves, and pharmakos are not eradicated, but simply called by another name. It is for all those ostracized by and isolated from a totality which chews them up alive in a self-cannibalizing caste system. 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. 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. Those that pit them against each other grin from the sidelines, bellies full. 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. 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. It is an instinctive inward response to a world of increasing outward violence, greed, and oppression. But this behavior does not happen in a vacuum. In our cells, our minds, our politics and our species, humans are self-destructing. “Devour” uses self-cannibalization as allegory for the self-destructive nature of humans on cellular, individual, societal and species-wide scales. ![]() 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. Devour also explores new sonic territory, with denser electronics, groovier hooks, and moments of her most unhinged vocal deliveries to date. 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. The album was recorded by Ben Greenberg (Uniform) and is the first Pharmakon album recorded live in studio. 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. 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. Devour marks the fourth full-length record from Margaret Chardiet’s project Pharmakon and her most intense output to date. ![]()
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