Musically, the record moves across three pillars: intricate IDM architecture and polyrhythmic structure; experimental sound design in conversation with three decades of contemporary academic music; and a nostalgic thread rooted in Soviet-era electronic tradition — approached not as pastiche, but as proof that certain sonic languages exist outside linear time.

The album closes with two experimental pieces. The final track incorporates the last recorded chords of Soviet-era folk orchestras — fragments of a vanishing tradition. Anabiosis treats these notes as testimony: we may be among the last witnesses to a living cultural inheritance that cannot be fully preserved by recording alone.

All material was recorded entirely on hardware — no computers were used. Over 30 synthesizers were employed, including a significant number of vintage and analogue units. SOMA Laboratory instruments LYRA-8, COSMOS, DVINA, FLUX, and RoAT function as lead voices, each given a distinct compositional role, much like parts in an orchestra.