Friday, December 5, 2014

An intensely intimate and confrontational performance by Pharmakon, a death industrial music project from Margaret Chardiet. Chardiet describes her drive to make noise music as a kind of exorcism, making it possible to express her “deep-seated need/drive/urge/possession to reach other people and make them FEEL something [specifically] in uncomfortable/confrontational ways.” In addition to being one of the few females working in a male dominated noise scene, Chardiet stands out for her meticulous rigor and attention to form, with every performed element methodically planned out in advance for maximum emotional impact.

Argeo Ascani

Margaret Chardiet was born and raised in New York City. She has been making power electronics/death industrial music under the name Pharmakon for five years. 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 she was 17. Several projects emerged from the Red Light home/venue during the four years Chardiet lived there, including Yellow Tears and Halflings, among others. She notes that the environment there among so many other experimental artists inspired her to keep pushing herself and making increasingly challenging work. Pharmakon is her opportunity to exorcise demons and examine wild thoughts by pushing them outside of her head. Engineered by Sean Ragon of Cult of Youth at his self-built recording studio Heaven Street, Abandon is Pharmakon’s first studio album and also Chardiet’s first widely distributed release.

Concert Hall
December 5, 2014, 8PM

“Sometimes the most intense or poignant reactions that I’ve gotten are from people that have never heard noise music before. They have this very guttural human response to it." - Pharmakon


EMPAC 2014-2015 presentations, residencies, and commissions are supported by grants from the National Endowment for the Arts and The MAP Fund, a program of Creative Capital, primarily supported by the Doris Duke Charitable Foundation; additional funding from the Andrew W. Mellon Foundation, the Community Connections Fund of the MetLife Foundation, the Boeing Company Charitable Trust, and the New York State Council for the Arts. Special thanks extended to the Jaffe Fund for Experimental Media and Performing Arts for continued support of artist commissions.

National Endowment for the Arts
State of the Arts - NYSCA