Cioran Records

Pentti

Standardization, production, concentration, pollution, lifestyles and beliefs are becoming uniform, mass culture shapes minds, individualist atomization reduces the last impulses to ashes, social networks and tourism in all its forms are romanticized to excess, industrial society and its eternal optimism, a bulimic monster with connected gums and mechanized fangs, organizes and devours beings, nature and the living, from the cosmos to the depths of the earth. Contrary to a haggard techno-solutionism or a hedonism whipped by panic, Pentti offers us here a catastrophist, heresiarchal and pessimistic rhetoric, through the acid spectrum of hazardous industrial music contrasting with fierce fieldrecordings. Immersing himself in past and present ecological disasters, drawing his inspiration from the constant brutality of the domination of technology and science, Pentti uproots from the abyss an ambivalent dialectic of ancient times face of modernity, from wild fantasy to the fictional world of telescreens, from lush countryside to devouring suburbia. Spurred on by the rapid transformation of which no one can predict the form it will take, la Grande Mue de l'Entre-Deux Gaves is a delirious and mystical observation of the deformation of everything that tends towards balance and harmony — and like a bitter and violent wish that the strategy of confusion, instability, fragmentation carried out by technology and the modern, fail in a deafening crash to leave only the nothingness that it inspires. Finally, from despair to anguish, from disillusionment to bitterness, this epanalepsis seems to conclude: “Delenda est Carthago”. This album is dedicated to Theodore Kaczynski.

Camecrude

Alas, Camecrude is back. The weakness of the post-fall, the valetudinarian wandering and the howling miasma has returned. The eye is surrounded by dark circles more than ever and the leg is more lame and raw than ever. Inspired by books like La Luxure et la Mort from Albert Caraco, Précis de Décomposition by Emil Cioran or Le Monde comme conscience et comme rien par Ladislav Klima, this pessimist double album is divided in two sides, one first part with extended tracks for the fall and the drama of conscience — another side with dark old sorcery meditations around insomnias and negative utilitarianism. We're proud to present this second and double album of the very talented Camecrude, which strikes once again with its overwhelming lucidity. After the success and the numerous repercussions of his first album l'Enclave I, this double album of a little less than 2 hours is one of the most innovative in the field of ritual music, noise and the experimentation of hurdy-gurdy. Camecrude, rules by the hurdy gurdy teacher Valentin Laborde, is surrounded this time by many artists, such as the actress and lyricist Malou Rivoallan, the contemporary percussionists Clément Joseph-Alexandre and Lauren Hayet from the Conservatory of Pau and the Ginkgotuk band, or the howler and performer of the Black Metal Harsh project Stase:Orgone. Take fear and doubts, Camecrude is back, come down from his hill, it is certain that he will take us with him in his fall and torments.

Infirme Infini

Beneath the sedimentary layers of years and human development, memory and decay. An immense temporary chaos, an obnubilation, an expectoration and an infernal deformation. Suicide freezes into hypothesis and real life, dead and alive, moves ahead at a legless pace. We're reduced to conjecture, and perfectly free to push things into the dark. Ah, only the devil knows what atavistic feelings rise up in infamous expectoration in each new life. Nature, absurd, biology, infectious, life, tainted. If only everything remained in its mineral state. A virus of decay, a still-warm corpse riddled with hideous spasms, Infirme Infini signs its first release on Cioran Records, an abject newborn whose arrival logic should not have accepted. Like Mary Shelley's Frankenstein, Mycoplasma finishes off its creator on the altar of an apocryphal, suffocating nothingness, projected in the face of human horror, reflecting the sickening soliloquy that is peculiar to us all. With sounds accumulating like a field of bacteria at the corner of your mouth, a culture of grime revealing details as the album progresses mechanically, Infirme Infini contaminates and decimates the listener in proliferation and prostration. At the roots of Power Electronics, an accumulation of anomalies, noises, monstrosities, impurities, howls and madness transforms us into Shakespearean buffoons, where Infirme Infini sets a scene where prison and medical are one, where the cells of the condemned respond to the cells that make us up. And we end up like the sparrow lost in the stairwell, frantically trying to escape, body and beak, throwing ourselves and hitting the closed windows, and dying of exhaustion, suffocation or panic on the doormat. Wretches.

Misa Tridente, Lacrimi Si Sfinti & Inselberg

This sound is a black metaphysical monster. This sound is a synthesis of a harange by Napoleon and a murmur by Nietzsche. This sound is a Mephistophelic psalm which would be hard to find the like. This sound is the creator of many species of insects that did not exist until recently, of vermin never seen before, this sound is Beelzebub. This sound is the first light of the Infinite Day, one of the combatants of the distant and approaching army of anthropotheity. This sound is only its Shard. This sound is the absolute Will, scattered by the weakening of the force in the world. This sound is God. This sound is quite dangerous. No abyss separates these three realms, and if it existed and if we had the power to see only a tiny part of it, the vertigo and terror that its depths would bring us would plunge us forever into madness. and oblivion. At the edge of the void, the land inhabited by Misa Tridente is instead a Hell tempered by Nothingness, and with it history is a passion and its victims are legion. On the other side of the border, Lacrimi si Sfinti cruxifies the Magna Mater there in its fields of emptiness, pouring out on the world anathemas which would only be sublime but neurotic prose, if they did not carry along, these sharp, definitive anathemas, already irrefutable prophecies. And at the end of this world, God is a monster, and his theologians the architects of the torture chambers. Inselberg signs the end of a time and draws the destruction of the universe, revealing the negative of an immaculate purity with contingent forms. Through the idea of ​​sacrifice, he offers here the homily of the frontiers of time, projection of his own demiurgic perditions as the ultimate rhetorician of the absolute and extinction.

Xomo

Today, the world is perhaps experiencing its greatest decline. Nauseous policies, fateful pandemics, ecological disaster, under the yoke of a terrorist and tyrannical economy and growth. Perhaps, it would be time for everyone to immediately abandon any concrete pyramid piling up, any human superposition, any acceleration towards a utopia that always turns out to be false and negative. Perhaps, it is time to reject everything that was before the fire, to reject all comforts, to reject all modernity. Perhaps it is time to fully accept that we are and will forever remain antonyms. Through this album, Xomo (to pronounce Chomo — /ʃ/o/m/o) brings us here a compact, unbelievable and uncompromising album, around the themes of the myth of the eternal return and the nostalgia for origins. Noise improvisations, studies of ancient and animal rhythms, wall of creaking and crashing of rocks on the walls,all the conditions are met to embody a cavernous and metaphysical demonstration in antonym of our world of sanitized, sleek and impermeable architectures.. The "Harfangs", owls of the Far North, originally living in the Pyrenees Mountains during the last Glaciation, and some of whose paintings were found in caves in the South of France, reincarnate above our future ruin, from vestige to vertigo. Please welcome, a unique experience, vision and philosophy about post-industrial and antimodernism.

Stase:Orgone

Six years after the secret and confidential release “Etudes et essais autour de la pathostase (2013-2018)” by Stase:Orgone, we have decided to post this album on Bandcamp and reissue it on recycled cassette for the Electropixel festival, where Stase:Orgone will perform on Saturday, August 30, 2025. “Etudes et essais autour de la pathostase” is a one-hour compilation, recorded on cassette, of tracks released on various labels between 2013 and 2018. On side B, we find tracks from Pathologie n°1, and on side A, various tracks from different compilations released on Kontingent Records (BU), LTDM, and Cioran Records, as well as excerpts from performances. Stase:Orgone delves into all the monstrosities and oddities associated with human psychopathologies, savoring them with added rage and throwing himself into them with a fury that exhausts abuse. The screams degenerate into tremors, pivotal oscillations torn from nothingness, and the false guitars tune themselves and do not fade away, intertwining and crossing out each other in a pestilential palimpsest. The voices choke as they call out to the ruins left behind by suffering, the analysis fractures into a funereal warning and the triumph of death, mirroring this increasingly absurd universe. The imago mundi offered by this album transforms us into servants of the charnel house, serving us an inhuman sermon on our most abject malice. There is no other way out than lies or subversion, chaos or arbitrariness, and in the end, we emerge from this mass of sound alienated by ourselves, Stase:Orgone opening a path here that carries everything away and never ends, the arrow shot, the bow broken.