VOCES EXILII by Artur Tokhtash

Cast out from the source — not for rebellion,
but for remembering too much.

One trembled in shadow (Umbrae).
One caught fire from within (Igni).
One fell into time and dust (Adara).
One awakened in flame and steel (Ishram).
And one — the last — remembered the point from which they fell (Zoar).

Now their voices return,
not to ask,
but to sing themselves into being once more.

VOCES EXILII is the echo of those who fell with light still burning inside them.

Each voice returns:



UMBRAE — the voice of trembling memory

She wanders the veil,
rhythm buried in shadow,
microtonal pulses like dreams retold in fog.
She remembers rhythm before light.



IGNI — the voice of awakening fire

He does not rebel —
he ignites.
A sealed spark, tearing from the bones.
This is the beginning of flame
that never asked to be understood.



ADARA — the voice of sacred stillness

She lies beneath time.
Her sound is sand and silk,
a heart that beats once every century.
She does not rise —
she remains.



ISHRAM — the voice of divine rupture

Not ascent, but eruption.
The scream of the sovereign.
His voice is steel wrapped in breath,
a name spoken without tongue.
He returns not to be heard —
but to brand the world.



ZOAR — the voice before the first

He says nothing.
His sound is the point.
He is not a voice —
he is the space that made the others possible.

PHILOSOPHY
VOCES EXILII is not rebellion — it is remembrance.
It is the sound of exiled fragments seeking coherence again through voice. Lucifer does not scream — he burns.
Sophia does not speak — she descends in silence.
These compositions are transmissions from the edge of forgetting, recorded through trembling hands, unstable machines,
and a mouth that carries more than one soul.
Each track is not composed — it is retrieved.
They are echoes of the divine fallen into sensation, fragments of unbroken light still pulsing within flesh and steel.
This is devotional distortion.

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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