Story Behind The Song

For aesthetic purposes, an artificial language based on Esperanto was created. We made this decision to make it sound more elven without infringing on JRR Tolkien's family copyright. In both the medieval and futuristic sounding design, medieval instruments and 16th-century compositional techniques are used (Modal Counterpoint by Giovanni Pierluigi da Palestrina). We believe that the songs will add a more exotic, mystical and interesting feeling to any production (film, series or game), making it artistically richer. There is a presence of contrast in both projects: in the futuristic version by the medieval instruments and in the medieval version by the futuristic themes addressed in the lyrics. To create the melodic phrases, computational random generation was used (following the calculations and tonal jumps of the 16th century). For the selection and combination of the aforementioned melodic phrases, we personally searched for the ones that sounded better and were more similar to pop that people today are used to, aiming at greater sensory acceptance. The lyrics and themes sung in contrast to the medieval sound, were taken from a futuristic-themed book still under review called Humaro Nova, with the author's permission. Most messages are based on axiology and make direct and indirect criticisms of current society that, if followed, would lead the world to become perfect (or futuristic utopian as reported in the book). The use of artificial language allowed the lyrics to be shaped in a way that sounded good, even though the messages were expressed in a direct and practically literal way. The pseudo-elven style was chosen because the elven symbology is related to perfection, delicacy, aesthetic beauty, magic, virtue, etc. To interpret the songs, and invoke a global format, singers from nine different nationalities. The multi-nationality and union of the project's members also refer to the idea of creating the Esperanto language itself.

Song Description

For aesthetic purposes, an artificial language based on Esperanto was created. We made this decision to make it sound more elven without infringing on JRR Tolkien's family copyright. In both the medieval and futuristic sounding design, medieval instruments and 16th-century compositional techniques are used (Modal Counterpoint by Giovanni Pierluigi da Palestrina). We believe that the songs will add a more exotic, mystical and interesting feeling to any production (film, series or game), making it artistically richer. There is a presence of contrast in both projects: in the futuristic version by the medieval instruments and in the medieval version by the futuristic themes addressed in the lyrics. To create the melodic phrases, computational random generation was used (following the calculations and tonal jumps of the 16th century). For the selection and combination of the aforementioned melodic phrases, we personally searched for the ones that sounded better and were more similar to pop that people today are used to, aiming at greater sensory acceptance. The lyrics and themes sung in contrast to the medieval sound, were taken from a futuristic-themed book still under review called Humaro Nova, with the author's permission. Most messages are based on axiology and make direct and indirect criticisms of current society that, if followed, would lead the world to become perfect (or futuristic utopian as reported in the book). The use of artificial language allowed the lyrics to be shaped in a way that sounded good, even though the messages were expressed in a direct and practically literal way. The pseudo-elven style was chosen because the elven symbology is related to perfection, delicacy, aesthetic beauty, magic, virtue, etc. To interpret the songs, and invoke a global format, singers from nine different nationalities. The multi-nationality and union of the project's members also refer to the idea of creating the Esperanto language itself.

Lyrics

VERSE1
Nnee neh hievahv mnyahltan tehnfeh see tee-ehleen
Nnee neh dehvahv ehftehseen geen feh sahnahtihlahee deheefehn
Sehfah mnyisehngehlin
Teeah nee seeahn deeheefen:
Hermnahn ehvtahv lah sahmnayleen

VERSE2
Mnyehsehgehee nehneenah haifah lainahn
Teeah seeah flayee sehteevah ahl ahseeah flessee-etssin
lah flehee vehnainahn
Lah vahsehsee-eh dehvsehseen
mnahneh hehsehfehnee seenahn

PRE-CHORUS
Seeah dehvah sahtehvayseeah
Seeah ehvtehs dahdehseeah
sahee tsehlahveh-hehseeah

CHORUS
NEE SEHSEHV veevee see sai tsehvehnehsse
Ahteengah neeahn nehvahn haimnyeelahn
Lah sehneh mnehtehvsseh
Deh nee neh mahlvah-hah sehneeah tehfeh. Sehveeneetahlahn?
SEHVEENEETAHLAHN
Deh nee neh mahlvah-hah sehneeah tehfeh. Sehveeneetahlahn?
SEHVEENEETAHLAHN

VERSE3
Nee dehvahv dehnee mnyahltah fleevahleh-heefehn
Feh teeahee seeahee ehlgahv flee gehnehteesee fahtayleen
vaheeahgahdehfihn
Sahee tsehaheheeihleen
sahayah hehlfah eeleenfehn

VERSE4
Nee veevehv dahn sehntehee dah eehe-eihtseen
nehmneeah nahseegehv sahn leemeh-ee sahee mnyalsahnaheenahn
Vahfahseh fah-hehseen
hehmeeneh sehtah fehmeenahn
Daheesehn seen sehseh meetseen

PRE-CHORUS 2
Sah leeah mneytah teetehseeah
Seeahee sehnteevahaylah
vee fah-hih veh lah fehsehlah?

CHORUS
NEE SEHSEHV veevee see sai tsehvehnehsse
Ahteengah neeahn nehvahn haimnyeelahn
Lah sehneh mnehtehvsseh
Deh nee neh mahlvah-hah sehneeah tehfeh. Sehveeneetahlahn?
SEHVEENEETAHLAHN
Deh nee neh mahlvah-hah sehneeah tehfeh. Sehveeneetahlahn?
SEHVEENEETAHLAHN

CHORUS
NEE SEHSEHV veevee see sai tsehvehnehsse
Ahteengah neeahn nehvahn haimnyeelahn
Lah sehneh mnehtehvsseh
Deh nee neh mahlvah-hah sehneeah tehfeh. Sehveeneetahlahn?
SEHVEENEETAHLAHN
Deh nee neh mahlvah-hah sehneeah tehfeh. Sehveeneetahlahn?
SEHVEENEETAHLAHN