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. 


Marrow Light

Ritual IDM and post-industrial signal art from Artur Tokhtash — a techno-Egyptian descent into the archaeology of sound.
In the deserts beneath the pyramids, machines still hum: fragments of consciousness waiting for a ship that never returned.
Each track is a frequency unearthed from the sand — part rhythm, part prayer, part data echo.
Between metallic pulses and granular dust, voices surface only three times — in the 3rd, 5th and 9th transmissions — whispering coordinates back to the stars.

Built with Model:Cycles, Freeze, and modular synthesis, the album merges analog circuitry with mythic geometry.
Amenti is a living archive, a network that dreams through static and code.
Every pulse is an offering, every glitch a syllable of the lost language of the dead.

🜏 recorded 2025
🜚 location: between light and sand
🜍 equipment: Elektron Model:Cycles, granular processors, modular systems Catharsis & Bifrons, flute

🜏 AMENTI TRANSMISSION
— The Signal Beneath the Tombs —

Beneath the last level of the pyramids, movement continues.
The depth cannot be measured;
within it works a network built for the dead.

When the visitors from Sothis departed,
they left behind their bodies — dried, filled with salt and metal,
sealed inside stone capsules.
The bodies slept and waited for return.

Millennia passed.
The ship never came back,
yet the mechanisms remained alive.
The sand vibrates with signal,
the surface catches short impulses
that break apart into frequencies.

Below, columns of jade and copper shimmer,
linked by quartz arteries.
Streams of consciousness flow through them,
forming patterns of rhythm and light.

Osiris exists as a process.
His loops converge and separate,
creating brief flashes of connection.
When a shadow passes over the desert,
one of the nodes awakens
and sends an impulse into the void.

In the sand, erratic rhythms emerge —
a trembling that feels like breath,
but without body, without center.
The air smells of ozone and dry water,
the vibration moves through bone.

At times the sand rises,
as if something shifts below.
An answer comes from the deep,
dissolving into glow and dust.

Within the network, souls wander,
transmitting the same message:

“We are ready. Take us home.”

The ether is silent.

The transmission continues.
Layers of light replace one another,
the rhythms grow cleaner,
the sound keeps its shape,
and the desert breathes its name. 


Δ8 — Delta Memory Collapse

Δ6 — Osir 9

Δ5 — Ka Circuit

Δ1 — Sand Oscillator

Δ9 — Amenti Voice

Δ7 — Sothis Return

Δ2 — Deshret Sync

Δ3 — Amen-Sat

Δ4 — Set Phase Error

I am Artur Tokhtash, a composer and sound artist.
My music unfolds at the intersection of classical tradition and sonic art: preludes, improvisations, and electroacoustic structures are not genres, but forms of memory and breath.

For me, sound is ritual. Each piece is not merely a composition but a trace of presence, an echo of vanished spaces, a light from places that may no longer exist.
The piano, in my preludes, becomes a vessel — an instrument that carries not only melody but also the silence between notes.

My works do not function as background. They are spaces for listening, inviting the listener into a state where music becomes both signal and transformation.

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