SOMNOLITH: TERMINUS

The Final Dream-Vector of Post-Human Resonance

“In the cycle of completion there exists only the present.” — Ra, Session 16.22

The cycle closes. A stone that does not sing — it trembles.

In the age when Light had no form and Thought moved without pause, there were beings who created endlessly. They wove realities as threads and shaped worlds without limit. Their universe was alive and restless, filled with unceasing resonance.

One of them looked into the radiance and perceived emptiness. They longed for a threshold between brightness and shadow, for an end rather than another beginning. They spoke the Word — the first pause in the eternal song.

From this Word the Somnolith emerged, a stone of sleep where the vibration of completion pulses. The Somnolith trembles with the breath of ending, a weary resonance releasing itself into silence.

From the trembling of the Somnolith emerged the Arkh — a solitary witness of sound.
The Arkh gathers what was always present: music older than language, vibrations that precede memory.
This resonance rests in the body, waiting to be recognized.

Somnolith: Terminus completes the trilogy and folds it into a circle. Heavy drones intertwine with spectral chords, like rays of light suspended in stone vaults. Mechanical fractures, obsidian resonance, and the fatigue of matter form its landscape.

Through twilight horizons, fading architectures, fractured nodes and static chapels, the music moves toward its closure. It becomes an archaeology of sleep, where darkness and melancholy weave with remnants of radiance.

Terminus returns to its own beginning: the final track echoes the first Somnolith, transforming the trilogy into a mirror. The first note lives inside the last, and the dream continues without end.


Somnolith is a myth of resonance, a cycle of dreams shaped through machines.

Terminus closes this trilogy with a denser and more melancholic vision. Massive drones merge with spectral chords, like light fossilized in stone. The sound carries both the fatigue of matter and the fragile beauty of silence fractured by cybernetic echoes.

This album circles back to its own origin. The final track reflects the first, sealing the cycle as a mirror-dream where each vibration becomes the echo of the infinite.

Terminus is ritual, archive, memory. A music of return. 


Twilight Descent

Delivery 2 12 bpm 12725 take 1

solace of being unseen in a world you care for

READ > https://inverted-audio.com/premiere-de-bons-en-pierre-pop-corn-sous-le-lit

Incepted in 2017 with the deliciously wonky 'Crepes', @bwanz and @maoupa-mazzocchetti collaborative project De-Bons-En-Pierre is back this spring on @darkentriesrecords with a gleefully filthy and mind-altering twofold offering, packed to the brim with misfit analogue spins, deliquescent melodies and inward-collapsing rhythms.

EP No. 1 

De-Bons-En-Pierre - Pop Corn Sous le Lit [Dark Entries]

Today’s first act is Smetnja, a Belgrade based collaborative duo formed by Minor Adjustments records co-owners - Bolelee and Lil Taty. They are mainly focused on making club music on the machines, field-recordings and ambient pieces.

Smetnja [Minor Adjustments] [23.06.2020]

Code Walk - Choke

Evitceles / Spite Cathedral Split

Нелюбов

Tracklist: https://hkcr.live/shows/hiro-kone-invites-proteus-23-10-2020

Hiro Kone invites Proteus - 23/10/2020

Ratkat, a Hamburg native, resident DJ at Golden Pudel Club, organizing the monthly monday night “Next Time” together with NIka Son. As a producer she’s called Pose Dia and just released her album debut “Front View” on Bureau B.

Ratkat [06.11.2020]

Written and produced by David Burraston

with MANIAC cellular automata sequencer

Recorded at Noyzelab 2013–2016.

Mastered by Denis Blackham at Skye Mastering

unknowable determinism

Noyzelab - Unknowable Determinism - Stellage 010 [excerpts]

To feel oneself, to feel the otherness;
Partly in, Partly out.
A garden in constant metastasis allowing evanescent openings to be felt and be experienced
as flowers bloom yet also fade away.

Gardens have always been regarded as ideal places that remind us of the balanced relationship between humans and nature. The classical interpretation of the garden has been that of a lush and abundant place where passion, desire, pleasure and a manifold of other sensations harmoniously coexist. Apart from its glorified and romanticized connotations, gardens have simultaneously been materializations of purely anthropocentric actions, unveiling a reality of greediness, emotional impoverishment, and ecological injustice towards the Earth, the humans and non-human others. What was before regarded as a utopian ecosystem has now been turned into a terrain of bodies in pain and souls in grief, where even some elements of welfare here and there fail to disguise the strong presence of contemporary micro-dystopias.

Chaos and order, fantasy and reality, utopia and dystopia, gratification and pain, lust and aversion glide from one to the other in an endless interplay of manifestations, inclusions and exclusions. The Garden depicts a primal sonic universe in which the desires of being, the tensions in the becoming and serenity take turns in no chronological order and in which each sound allegorically originates from a library of voiced sounds, such as audible breathing and other nonlinguistic utterances connected to intimate communication.
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Farah Hazim is a french-lebanese intermedia artist and composer; she investigates experimental and improvised forms of sound art, and explores alternative inquiries into hearing, listening and experiencing with a particular interest in multi-channel environments. Her compositions and performances proceed with a certain slowness and a semblance of repetition in the exploration of intermediate states, allowing states’ deployment in order to let the listener inhabit an atmospheric and textured soundscape in which sound-collage hunts tunes, and sometimes protocols lead the way.
In installations, her work has been turning towards plural narratives and time-based collaborative projects, creating a platform that tackles the way we understand reality of media and interconnectivity. Superposing and extracting different live streamed events or pre-recorded sound capsules, and concentrating them in a temporary media space, in which things accumulate and dissipate. Desireful of building temporary links and opening spaces for aesthetic interaction between different territories, geographical regions and temporalities in a complexity of “superimposed territories and intertwined histories”. (E. Saïd, 1977)

Farah Hazim - The garden

Spaces of Faux Intimacies is the first part of a series of interventions unfolding over a year, exploring intimacy in the wake of socially distanced capitalism, digital technologies and the pandemic. 

Today’s neoliberal, hyper-connected society, has capitalised the very notion of intimacy. Screened semblances of emotional abundance are promised to us within only a few swipes away while corporate conglomerates are profiting from our desire for physical and emotional connections. As the pandemic and the accompanying social distancing measures are driving us even further apart, and amid the already existing turbulence around the world, how can we work together to produce new channels of care, social resilience, and affective solidarity? 

"Spaces of faux intimacies" brings together artists of various disciplines to contribute to the discussion with individually commissioned auditory works.

Curated by Katerina Gnafaki for Centrum

The exhibition is part of the Vorspiel program of the CTM and transmediale festival 2021 and made possible with the generous support of Musikfonds, by means of the Federal Government Commissioner for Culture and the Media.