Pharmakon's body of work is a visceral etude on the human condition. Since 2013 with the release of Abandon, Margaret Chardier has explored the darkest sides of the human mind, psyche, and body through the fierce nature of power electronics. This path resulted in the absolute highlight with 2019's Devour, with Chardier perfecting her style. Noise storms raging, abstracted rhythmic structures perishing into nothingness, and an unearthly vocal performance ranging from ungodly, disfigured screams to mantra-like anchors. After the shock of experiencing such a work, the question naturally was "Where to from here?"
Chardier's new record Maggot Mass draws a distinction from her previous works. Firstly, on the lyrical side, it explores not the human condition in isolation, and its self-destructive characteristics, but rather its corrosive relationship with nature. Even more interestingly, this perspective shift is accompanied by a stylistic change. This time around Chardier offers a more distinct assault, one that has a solid form that displays a kinship with extreme quasi-metallic acts. "Methanal Doll" progresses through a staccato rhythmic beat against the noise backdrop, its adherence to the industrial machination reminiscent of the awkward glories of The Body and Uniform. "Splendid Isolation" further explores this path, here the hovering noise oscillations acting like an infernal pendulum (and I am just looking around for the pit) slowly descending and tearing into your mind and flesh.
There is still a deeply spiritual component that comes along with this newfound solidity. "Wither and Warp" crafts a ceremonial procession, a defeatist march through noise razors and harsh synthesizers. Chardier makes another distinction in the opener by shining a stronger spotlight on her vocal performance. Although it has always been a key component for Pharmakon, her delivery here is different, appearing cleaner through the layers of effects. The combination is surreal, and the slow pace establishes a connection with a punk-esque vibe, making the whole enterprise display a sludge affinity.
Pharmakon still returns to her old ways, primarily through "Buyer's Remorse" where the shrieking vocals balance on top of nebulous feedback tropes. It is as hostile an environment as Chardier has ever offered. The abstracted forms of "Oiled Animals" see her further deconstruct the industrial core. A strange and uncomfortable listen (no shit,) it elevates to a towering form becoming something otherworldly and fleeting, completing the body-mind-spirit connection that Chardier has been obsessing over. It completes the macabre viewpoint, through imagery, sonic landscapes and an asphyxiating quality. Just listen to how the buzzing wings of flies transforms to a hail of noise artifacts in "Wither and Warp", and how the noise finally returns to the original form. It mirrors the cycle of life, its endless and inescapable cruelty, and its necessity. And maybe to some extent, something that offers some semblance of solace.
