Farsin khronos

I’m a twenty-year-old Experimental musician using sound as a kind of diary. Each record reflects a specific period of my life, shaped by whatever emotions or ideas occupy me at the time. I try to translate those inner states into sound as faithfully as possible. My relationship with music began when I was ten years old, after my father gave me a piano. Since then, music has remained a constant presence in my life, something I've never stopped learning, practicing, or returning to. Beyond music, I'm also deeply drawn to writing and filmmaking. Whether with a cheap camera I received as a gift or simply my phone, I find myself documenting the world around me. In many ways, this website is where those different parts of my creative life come together.

THE CATALOGUE

THE LIBRARY

post deum

We have left the land and have gone aboard ship! We have broken down the bridge behind us, nay, more, the land behind us! Well, little ship! look out! Beside thee is the ocean; it is true it does not always roar, and sometimes it spreads out like silk and gold and a gentle reverie. But times will come when thou wilt feel that it is infinite, and that there is nothing more frightful than infinity. Oh, the poor bird that felt itself free, and now strikes against the walls of this cage! Alas, if home-sickness for the land should attack thee, as if there had been more freedom there, and there is no “land” any longer! — Friedrich Nietzsche, The Gay Science, §124, trans. Thomas Commonwhat becomes of suffering when there is no one above us to witness it? what becomes of existence when nothing beyond ourselves is required to acknowledge that we have existed? post deum is a composition in six fragmentum. i have long been drawn to the writings of Thomas Hardy and Friedrich Wilhelm Nietzsche, particularly the latter's reflections on the death of God and the place of the divine in the modern age. this idea has lingered with me for some time. what interests me is not simply the absence of God, but what that absence might make possible. what becomes of existence when its creator is no longer watching? what does it mean for human consciousness to emerge in a world where the existence of its maker offers neither certainty nor necessary purpose? perhaps the disappearance of God and the emergence of human autonomy are not entirely separate events, but two aspects of the same unfolding. i have become interested in a hopelessness that asks for no consolation, that does not mistake suffering for revelation, and that offers no promise of redemption at its conclusion. post deum is an attempt to dwell within these questions, sitting with this idea rather than seeking to represent these ideas through a narrative. i have attempted to approach them as conditions of existence, allowing the compositions to dwell within uncertainty, exhaustion, and the possibility of an ending that offers no answer. i have sought to find a composition of the deepest hopelessness: a sound that does not merely mourn the absence of God, but inhabits the desolation that follows, without offering consolation or attempting to resolve it.TRACKLIST
1. fragmentum i
2. fragmentum ii
3. fragmentum iii
4. fragmentum iv
5. fragmentum v
6. fragmentum vi
7. fragmentum vii
8. fragmentum viii
9. fragmentum ix
10. fragmentum xreleases February 2, 2027field recordings and sonic arrangment by farsin khronos & kazmir drechno
produced by: farsin khronos
written by: Farsin khronos
mixed by: farsin khronos & kazmir drechno
mastered by: farsin khronos & kazmir drechnorecord released under pratumscúan

zeitmessung

    “threefold is the pace of time: slowly the future comes toward us, swiftly the present flies away, eternally still stands the past.”
    — friedrich schiller, spruch des confucius (1795)    zeitmessung (time measurement) is the second album of morgenlicht, following høuse øf hørøløgue and returning to a much earlier part of aldebrand morgenlicht's life. this is the dream of a young clockmaker. before the house, before the years had accumulated into memory, there was only the fascination with the mechanism. aldebrand is learning how to make clocks, and with everything he learns, the world seems to become larger. i think i have always known how i wanted to continue aldebrand's story, but when i finally sat down to make the music, i realized how much the haunting world of høuse øf hørøløgue had followed me. it became difficult to imagine aldebrand somewhere else, in another landscape, before the house, but i think i also had to accept where aldebrand's story will eventually end, and what everything he has built will come to: his inevitable death, and the solitude he will eventually find within time. how much of time can actually be measured? is it even possible to measure time at all? what is time, really, and why are we so completely bound to it? and why has aldebrand chosen to find his solitude there? i think høuse øf hørøløgue has haunted me throughout the making of this record. i tried, at first, to imagine aldebrand outside of that world, to imagine him somewhere open and young and hopeful, before everything that would eventually happen to him. but i slowly realized that i could never completely separate him from the end of his story, even when i am writing about a much younger aldebrand. it follows him into every landscape i place him in. and perhaps i had to accept that i am bound to that ending too.as the person creating aldebrand, i cannot simply forget what i have already written about him, just as aldebrand cannot escape the time that carries him toward his own end. i don't think it is possible to ignore time. i don't think it is possible to ignore the past. everything we make carries what came before it, whether we want it to or not. maybe that is what this landscape of zeitmessung really is. it is not a place untouched by the future, but a place haunted by it. aldebrand is young here. he is still learning. he is still dreaming. he has no idea what this fascination with clocks will eventually become, or where it will take him. but i know. and perhaps that is why there is something so bleak and nostalgic about this first glimpse into his youth. i am looking at him before he knows himself, while knowing exactly where he will end. there is something almost cruel about making a young man dream when you already know how his dream will end. but perhaps that is what time is: the strange distance between who we were, who we are, and the person we will inevitably become. and so i stopped trying to escape høuse øf hørøløgue. i let it haunt this record. i let the past remain present. zeitmessung became less about imagining a world before everything else and more about accepting that there is no world before everything else. there is only time, carrying everything with it. aldebrand is learning to measure time. i am learning that i cannot escape it.tracklist:
    1. introit — the clockmaker’s dream i — 22:28
    2. apprenticeship — 10:58
    3. eisenach, 19— — 07:06
    4. unfinished clocks — 06:21
    5. the last mechanism — 10:23
    6. exitus — the clockmaker’s dream ii — 17:37    credits:
    produced, written, mixed & mastered by farsin khronos
    mixed & mastered with kazmir drechno
    released under pratumscúan • mmxxvii

    Historia Morbi

    Historia Morbi (History of the Illness) is kinda the weirdest thing I’ve got to make at this point. I don’t think of myself as considering this another music project of mine. I think it feels more like a documentation of the psychiatric treatment I’ve been receiving since I was just about 12. It all started because I could not accept the idea of death, so I decided to just hide in my room. When I look back at everything I’ve been through, when I look back at this, it appears in a muddled form. I can’t even recognise myself, and I wanted to capture the form everything was inside my head. To do that, I built two characters: one, Falkner Hartmann, a German man from the 1930s living with relentless panic attacks, sleeplessness, and a mind that has become unbearable to inhabit. And his psychiatrist, Dr. Viktor Reichenau, whom I see as a father figure to Hartmann, who, within everything he’s got, wants Hartmann to get better. I wanted to reflect what I know about myself, what I have learned, and how I have changed, all through this character and his psychiatrist.After years of failed treatments and growing isolation, and needing to become someone else than himself, after seeing there’s no way out, he volunteers to undergo the experimental procedure Reichenau suggests, known as the Moniz Method. In a way, I felt the need to end it in a tragedy, ultimately with Hartmann dying during the procedure. I think the long-standing reason for me building so many characters through my work, only for them to die, is in a way my way of somehow coming to terms with how afraid I am of the idea of death and how much it has haunted me. That’s one of the biggest things I also wanted to explore here, but maybe through a different lens than ever before. Hartmann is just another character who was born for me to, in a way, accept death. So he simply dies at the end. But I also felt the need to bring myself into the album’s thesis at the end, as myself, as Farsin Khronos, not as any of my characters. Even if I didn’t have anything to say that hadn’t already been said by Hartmann or Reichenau, I wanted to be there with this character in this tragedy. So I’m there. It’s been a while since I felt this freeing and also sad making a project of mine. This, in every way, feels just so special to me, and I think this is going to be a project I will always keep close to my heart.Tracklist
    1. Notes from Dr. Viktor Reichenau — 00:39
    2. Hartmann: Intake — 10:37
    3. Reichenau: Case History I — 02:47
    4. Reichenau: Case History II — 03:35
    5. Hartmann: The Moniz Method — 07:40
    6. Note from Falkner Hartmann — 03:45
    7. Reichenau: Wake Up — 01:50
    8. Note from Farsin Khronos — 01:20

    inylProduced by: Farsin Khronos
    Written by: Farsin Khronos
    Mixed by: Farsin Khronos & Kazmir Drechno
    Mastered by: Farsin Khronos & Kazmir Drechno
    Record Released Under Pratumscúan
    Release date: October 1 2026