1/28/2024 0 Comments Devour songs![]() Noise, as performance style, runs the risk of decomposing bodies. The pain and the ringing in the ear not as erasure, but as the remembrance of being a body, something that needs others for life, something denied what it needs. Lost in a sense of being consumed by shrieking tones, her voice centers through the phased blurriness and clarity. Within this, Chardiet’s voice brings us back to our bodies. Subtle variations, growing intensities, aborted directions, monotonous instants - everything centering on the push and pull between regimented, industrial order, and ecstatic escape. Synthesized sounds, those electric whispers that escape the husks of metal bodies, pound away. A sense of unease that is also a sense of knowing again what a body already knows - “an awareness you cannot think or say, only feel,” as stressed on “Pristine Panic.” ![]() The voice and the various effects applied to it push and pull against the skin. From the modulation and distortion of “Homeostasis” to the delay and low register of “Spit It Out,” to the momentary clarity of “Self-Regulating System” and back to the ricocheting uncertainty of “Deprivation,” Margaret Chardiet’s voice weaves together the noise pricking at the body’s surface and a deeper sense of something coming from inside the body. Pharmakon’s voice traverses Devour’s textured rhythms and spurting feedback, serving as antagonist and guide. Being a body versus knowing that one is a body emerges as a dividing line - how much do you think about your body? Devour exists within this fault line: as a body being consumed by a world and as a body consuming parts of the world, as a shrinking body among growing systems of control and as a growing body determining its place against such mechanisms, as a voice escaping a corporeal form and a form being remade by voices. Or, how strange it is that it isn’t strange for some to have a body.
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