On your deathbed
What contributions
have you made to the species?
The sun will die
So let’s not waste our time. Deal?
Elven Voice is a project that expresses art through music with modern messages and instruments with medieval timbres.
It uses an artificial language based on Esperanto, created for sound aesthetic purposes.
The songs from Elven Voice are also on another project, Allia Elvish, but in a more futuristic style.
In both the Allia Elvish and the Elven Voice, old instruments and 16th-century compositional techniques are used (Modal Counterpoint by Giovanni Pierluigi da Palestrina).
Both designs make use of contrast. In the modern Allia Elvish for the participation of old instruments, and in the organic Elven Voice for the futuristic themes addressed in the lyrics.
To create the melodic phrases, computer random-generation was used (following the rules and tonal jumps of the 16th century). The choices and combinations of the aforementioned melodic phrases were made personally, selecting the ones that sounded best and were more similar to Pop, which people today are used to. Seeking, in this way, a greater sensorial comfort.
The messages present in the lyrics of the songs were taken from a futuristic themed book still under review, called Humaro Nova, with the author’s permission. They rely on axiology and make direct and indirect criticisms of current society, which, if followed, would lead the world to become a fairer place (or futuristic utopian, as reported in the aforementioned book).
The use of artificial language allowed the lyrics to be molded in a way that sounded pleasant, even though the messages were expressed in a direct and practically literal way; in a way that borders on childishness.
The pseudo-elven style was chosen because the elven symbology is related to perfection, delicacy, aesthetic beauty, magic, virtue; in short, all the positive adjectives modernly linked to the referred mystical being in contemporary fictional works.
To interpret the songs on the first EP and evoke a feeling of unity, singers from nine different nationalities were chosen (Argentina, Brazil, China, England, France, Greece, Italy, Russia and the USA) who have in common the technique necessary to perform the song tracks, and a timbre that would refer to the very spirit of the book that inspired the project.
The multi-nationality and union of the project’s members also refers to the idea of the creation of the Esperanto language itself, which lent its radicals to shape the language used in the project.
