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

The House of Our God is a Tomb

Remembering mine affliction and my misery, the wormwood and the gall. My soul hath them still in remembrance, and is humbled in me. This I recall to my mind; therefore have I hope. It is of the LORD'S mercies that we are not consumed, because his compassions fail not. They are new every morning: great is thy faithfulness. The LORD is my portion, saith my soul; therefore will I hope in him. The LORD is good unto them that wait for him, to the soul that seeketh him. It is good that a man should both hope and quietly wait for the salvation of the LORD. It is good for a man that he bear the yoke in his youth. He sitteth alone and keepeth silence, because he hath borne it upon him. He putteth his mouth in the dust; if so be there may be hope. He giveth his cheek to him that smiteth him: he is filled full with reproach. For the Lord will not cast off for ever: but though he cause grief, yet will he have compassion according to the multitude of his mercies. For he doth not afflict willingly nor grieve the children of men. - Lamentations 3:19–33 (King James Version)"The House of Our God Is a Tomb" is a project I've wanted to make ever since I became a musician: a musical adaptation of the Book of Lamentations, or rather my own interpretation of it through sound. I'm interested in grief, memory, hope, sin, judgment, prayer, and the mourning of Jerusalem, all being captured in my own way, and this is what I came out the other end with. This is probably the most ambitious project I've ever made, and also the one I've wanted to make for the longest time. I've made several versions of it over the years. It was actually supposed to be the project I debuted with, but that fell apart. Later, I tried making it again with a friend, and that version also came to nothing. Even House of Horologue was, in many ways, born from this project. It came out of the same fascination with abandoned places, the memory they leave behind, and the sadness of something that once had meaning but no longer exists. Looking back, I think I've been trying to make The House of Our God Is a Tomb for years without fully realizing it. The process of making this record was difficult because, for the most part, I didn't know what I wanted it to sound like. I kept asking myself: how do you capture something like Lamentations? How do you translate a book that lives almost entirely in grief, silence, and unanswered questions into sound? Every previous attempt felt completely different, and every one of them failed because I never found a sound I believed in. I kept abandoning ideas, starting over, and convincing myself I'd never be able to do it justice. Now I have this record, and I still don't entirely know what I did. I don't think I can fully explain it, only that, for the first time, I reached the end of the process feeling satisfied. Not because I think it's perfect, but because it finally feels honest. I don't think this was ever going to be a project that could be neat or polished. The first track, The Lord Is Silent, is probably the piece that took me the longest to finish. The earliest version dates back to the beginning of 2024 as a four-minute demo. I kept returning to it over and over again, rewriting, expanding, removing, and rebuilding it until it slowly became the foundation for everything that followed. It was through this track that I finally found the sound of the album. "How doth the city sit solitary, that was full of people! how is she become as a widow! she that was great among the nations, and princess among the provinces, how is she become tributary!" That is the image I kept returning to while making this record. By the end of the album i realized I wasn't as interested in illustrating the text of Lamentations as I was in preserving its emotional weight. I never wanted this album to be a musical retelling of Scripture. I wanted it to feel like standing in the ruins after everything had already happened.

released July 9, 2026Produced by: Farsin Khronos
Written by: Farsin Khronos
Mixed by: Farsin Khronos & Kazmir Drechno
Mastered by: Farsin Khronos & Kazmir DrechnoRecord Released Under Pratumscúan

Physical Edition

Phlogiston

Phlogiston is a scientific concept from the 17th and 18th centuries that attempted to explain fire and combustion. According to the theory, all combustible materials contained a substance called phlogiston, which was released during burning. Though eventually abandoned following the discovery of oxygen and the rise of modern chemistry. With this album, I revive phlogiston. I propose that phlogiston exists not only in fire, but in people. Every person contains a kind of phlogiston, an invisible substance released through living, creating, loving, working, and suffering. It cannot be measured or observed directly, yet traces of its departure can be found everywhere. In memories, in labor, in relationships, in the things we leave behind. The album unfolds in two stages. Funkenfänger documents ignition: the gathering of sparks, energy, motion, and transformation. Caput Mortuum follows what remains after the process is complete the residue, the exhaustion, the evidence that something once burned. Nothing is created. Nothing is destroyed. The phlogiston has simply escaped.There is a tendency to view industrial spaces as lifeless places, as environments are occupied only by machinery, schedules, and production. To me Phlogiston rejects this idea. Every factory, workshop, warehouse, and furnace bears the marks of the people who passed through it. This album is dedicated to those traces. In a sense, Phlogiston is less concerned with the industry itself than with the relationship between people and the structures they create. The furnace outlives the worker. The building outlives its purpose. For more than two centuries, phlogiston has been regarded as a failed idea. With this album, I argue otherwise. The conclusion reached is simple. Combustion was never the only process through which phlogiston escaped. Every life is a slow burning reaction.

released July 2, 2026Produced by: Farsin Khronos
Mixed by: Farsin Khronos
Mastered by: Farsin KhronosProject released under Pratumscúan

Physical Edition

Historia Morbi

    Historia Morbi (History of the Illness) is kinda the weirdest album I got the chance to make, and probably the one I’m most split on. I was interested here in exploring the psychiatric treatments I have been receiving since I was just about 12, and also, on top of it, to build a character called Falkner Hartmann, a German man from the 1930s living with relentless panic attacks, sleeplessness, and a mind that has become unbearable to inhabit. After years of failed treatments and growing isolation, he volunteers to undergo the experimental procedure known as the Moniz Method, not because he wishes to become someone else, but because he can no longer endure being himself. And the album is the portrait of the procedure. I wanted to reflect what I know about myself, what I have learned, and how I have changed, all through this character and this ultimate procedure he will be going through. I think I’m not interested in making a record about anything except finding forgiveness for people I had a hard time forgiving from from a young age. I had a psychiatrist who I had to visit regularly because of constant panic attacks. Every day I was having a mental breakdown about everything, but my psychiatrist did nothing to help; if anything, they made it worse for me during that time. But they were not trying to do that. So did my father, who never really understood what was happening to me, so he stayed away. My father is not portrayed as evil nor do I see him for not understanding me around that time, just as the doctors are not portrayed as monsters. They represent people who loved someone they could not fully understand. As I grew older, I realized that misunderstanding and malice are not the same thing. Historia Morbi is my attempt to find compassion for everyone involved. In trying to make me better, to heal me, even if I didn’t see that back then.In a way, I don’t think what this record is can really be described as an album. It is some poetry, sound, spoken words, and just everything that I have to say after eight years of treatment. Alongside it, I decided to publish my second poetry book, which will be tied to this and will explore very much the same concept. It will be called Cerebral Angiography, and it will be released alongside this record. To sum it up I don’t know if Historia Morbi is about getting better. Maybe it is simply about finally being able to look back at the person I was, the people around him, and everything that happened without needing to blame anyone. Maybe forgiveness is not forgetting what happened, but finally understanding that everyone involved was human. This is my attempt at doing that.

    Produced 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

    Cerebral Angiography is the poetry book that will be published alongside Historia Morbi. I’d say the two are, in many ways, interconnected. Cerebral Angiography is a collection of poems I’ve written over the years about my treatment, my doctors, my father, and several new poems I wrote while working on this album.