In the 19th century, metropolitan Seattle was founded by freemasons, occultists, and spiritualists—but today, it’s being dramatically rebuilt by the tech sector. Out of this strange intersection of energies in the city’s history emerges CHARMS, a biomechanical noise punk trio whose necro-electro sound is akin to a thousand broken computers surging with blue crystal power. Propelled by the piston-like industrial drumming of Ray McCoy, bubbling cauldron guitar of E.J. Tolentino, and the haunted alchemical bass synth of Josh McCormick, the group’s hyper-kinetic freakouts are a manifestation of the anxieties of Seattle—a city staring down what could either be a transhumanist utopian biofuture or a posthumanist dystopian decline.
It’s a concept the band drives home both sonically and visually with the help of projectionist Kevin Blanquies. Charms frequently plays shows in front of live feeds of themselves performing, the video feeding back on itself into an uneasy infinity as the group writhes around in epileptic fits. The future, as Charms’ music, weighs heavy, and there’s no telling where the intersection of man and machine really begins or ends.
– Kelton Sears, Seattle Weekly
Bio:
In
the 19th century, metropolitan Seattle was founded
by
freemasons, occultists, and
spiritualists
—
but
today,
it
’
s being dramatically rebuilt
by
the tech sector. Out
of
this strange
intersection
of
energies
in
the city
’
s history emerges Charms, a biomechanical noise punk tr
io
whose necro-electro sound
is
akin
to
a thousand broken computers surging with blue crystal
power. Propelled
by
the piston-like industrial drumming
of
Ray McCoy, bubbling cauldron guitar
of
E.J. Tolentino, and the haunted alchemical bass synth
of
Josh McCormick, the group
’
s hyper-
kinetic freakouts are a manifestation
of
the anxieties
of
Seattle
—
a city staring down what could
either
be
a transhumanist utopian biofuture
or
a posthumanist dystopian decline.
It
’
s a concept the band drives home both sonically and visu
ally with the help
of
projectionist
Kevin Blanquies. Charms frequently plays shows
in
front
of
live feeds
of
themselves performing,
the video feeding back
on
itself into
an
uneasy infinity
as
the group writhes around
in
epileptic
fits. The future,
as
Charms
’
music, weighs heavy, and there
’
s
no
telling where the intersection
of
man and machine really begins
or
ends.
– Kelton Sears, Seattle Weekly
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