Somnolith: Terminus by Artur Tokhtash

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.

In Terminus, the Spider Node dissolves its final threads.
The web of echoes — once scattered across archives of sleep — contracts into a single trembling point.
Every signal, every recursion, every fragmented pulse has been carried here.
The Node does not expand further; it folds inward, returning memory to silence.

All forms have been crossed.
All vibrations, from tides to void rehearsals, have been spoken and exhausted.
At the edge of this circle the Word is uttered: Marnuul —
the breath that marks completion, the first pause that allowed endings to exist.
Once spoken, nothing more is required.
The Somnolith trembles once, then becomes still.

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

Contemporary Music & Sonic Sculpture.
Exploring the architecture of sound as ritual and remembrance.
Synthesizers as instruments of transformation, the piano as a vessel of breath and light.
Voices and echoes become carriers of signal, memory, and myth.
From post-organic drones to luminous preludes and neo-classical invocations —
a passage through the liminal, where sound becomes space.

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