Pharmakon [03.03.2023: Forum Stadtpark, Graz]

by Oliver
on March 4, 2023
in Featured, Reviews

At nocturnal time offers Pharmakon in the Forum Stadtpark, depending on your point of view, the official conclusion of the second Elevate 23 day or the stirring start of the third. Either way: an absolute highlight of this year’s festival!

That Rent exceeds the estimated set time is really okay: while some of the audience in the forum, which is still very well filled after midnight, prefer to cover their ears rather than get earplugs at the bar, the very loud, physically noticeable one peaks and great, haunting sound by Katrin Euller, after a search that was often fragmentary at times, finally almost cinematographic, bundles the threads of the electro dystopias painted with apocalyptic beauty and delivers a round, fulfilling arc of suspense.
So something dem Pharmakon– appearance will ultimately come off in its entirety. And yet, shortly after 2 a.m., the question arises: Is Margaret Chardiet possibly approaching a new zenith of her career so far?

So after the start of the show was postponed to half past two in the morning (because a few small technical things didn’t want to work at first, first the KORG mutinied and then the micro cable went on strike, but after a few prayers and curses everything works) the set gives a glimpse of new material, some of which has even been played for the first time here in Graz – which definitely announces that the successor to the four years ago Devour the (please understand everything relatively!) most tangible, straightest and most immediate form of Pharmakon could articulate: the 32-year-old New Yorker hasn’t felt more compelling than that.
So Chardiet, as one knows from her live, continues to roam manically driven up and down the stage, provocatively scattering the friction through the audience, screaming and nagging the demonic catharsis full of agony beyond harsh noise and power electronics attacks that but emphasize the rhythmic, physical element even more hypnotically captivating than before.

The first of the three songs played already develops an animalistic, martial maelstrom in the context of devilish laughter; in the second, the chains rattle on the corrugated iron until the pacing up and down becomes more and more hasty and urgent, finally unloading the nihilism with boisterous hopping; and brings the third, trained in techno, in a midget walk, removing the jackets lying on the stage Pharmakon even in position to the caustic anthem – which suddenly ended at 2 a.m.
Decided on time Pharmakon their performance after only 30 (absolutely terrific, fascinating, captivating and haunting) minutes, which then also leave a bit unsatisfied, because the intensity of the performance has increased with every minute and after half an hour without a final climax like coitus Interruptus too abruptly turn off the voltage. Or else: the anticipation for the next studio album couldn’t be greater after this – although Pharmakon Experiencing them live continues to be even better than enjoying them on record, well.

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