Pharmakon Vinyl, CD & Tape 5 Items

Maggot Mass, the fifth full-length album by Pharmakon on Sacred Bones Records, marks the project's return after a five-year hiatus. This album signifies a departure from the original rules and structures established by Margaret Chardiet for Pharmakon, evolving into a new form. It retains the project's experimental roots in power electronics and noise while incorporating industrial and punk influences.The album stems from a profound disgust with humanity's dysfunctional relationship with the environment and other life forms. It explores the loneliness resulting from this broken bond and challenges 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 in dollars but in death? How can we reconcile with death when we impose the same hierarchical structures on it that we do in life? Is life worth living in the isolation of this self-imposed species loneliness?Humans often measure worth by accumulation _ money, assets, objects _ mistaking this for power and influence. Western heritage dictates a hierarchy, placing humans at the top, separate from the natural 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 that a human is more valuable than a maggot? Maggots recycle death into life, breaking down matter and nourishing new growth. They transform into flies, pollinating plants and sustaining the Earth's flora. 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 the idea of rebirth through death, celebrating the beauty of regeneration through decay. However, she had to confront the stark reality of the disconnection from the earth under oppressive systems. Pharmakon is here imagining...

In celebration of the label's 15th year anniversary Sacred Bones is now repressing this legendary debut on Colored Vinyl for the very first time. The vinyl colour is a mix of black, white & orange! 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 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, Abandon is Pharmakon's first proper studio album and also her first widely distributed release. The songs on this album were all written and recorded during a turbulent three month time period during which several fundamental life changes forced her to begin living in a completely new way and in a new space. She describes the lyrical themes of this album as being about "Loss. Losing everything. Relinquishing control. Complete psychic abandon. Blind leaps of faith into the fire, walking out unscathed. Crawling out of the pit."

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.

Why you'll love it...
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.

Limited to 300 copies, the VMP exclusive version of Pharmakon's Abandon is pressed on Black and White Cornetto vinyl at GZ Vinyl. The 1 LP will arrive in a single, direct-to-board, foil-stamped and numbered jacket with a download code.

Maggot Mass, the fifth full-length album by Pharmakon on Sacred Bones Records, marks the project's return after a five-year hiatus. This album signifies a departure from the original rules and structures established by Margaret Chardiet for Pharmakon, evolving into a new form. It retains the project's experimental roots in power electronics and noise while incorporating industrial and punk influences.The album stems from a profound disgust with humanity's dysfunctional relationship with the environment and other life forms. It explores the loneliness resulting from this broken bond and challenges 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 in dollars but in death? How can we reconcile with death when we impose the same hierarchical structures on it that we do in life? Is life worth living in the isolation of this self-imposed species loneliness?Humans often measure worth by accumulation _ money, assets, objects _ mistaking this for power and influence. Western heritage dictates a hierarchy, placing humans at the top, separate from the natural 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 that a human is more valuable than a maggot? Maggots recycle death into life, breaking down matter and nourishing new growth. They transform into flies, pollinating plants and sustaining the Earth's flora. 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 the idea of rebirth through death, celebrating the beauty of regeneration through decay. However, she had to confront the stark reality of the disconnection from the earth under oppressive systems. Pharmakon is here imagining...