Songs, Sketches and Re-imaginings.
Music has always served as my primary personal form of self-expression, especially when words alone fall short.
I sing not only out of love for the art, but also for the beauty it brings.
Over the years, my voice has ebbed and flowed—at times lost, at times rediscovered.
Now, I am on a journey to strengthen it, one song at a time, and explore the full potential of my craft.
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You can find my full playlist of music Here:
Below are a selection of my favorite pieces, along with a brief story behind each one.
Mir Darlen Somniar
This rendition features a song written in the Elvish language from the Dragon Age universe. The words are sourced from the lore books released by BioWare, and the backing track was generously provided by fellow YouTuber Totalspiffage.
As a lifelong admirer of Dragon Age—starting with Origins—I have played through all three main titles in the series (excluding Dragon Age: Veilguard, which I have yet to experience). This piece is my tribute to a game series that has profoundly influenced my life and offered me refuge during my formative years.
It was within this world that the inspiration for my name first emerged, as “Renan” in Elvish translates to “Voice.”
During the height of the pandemic, I served as an essential worker, continuing my role as a Teaching Assistant for students who could not safely stay at home.
In 2019, just before the full extent of the disease became known, a loved one of mine was hospitalized. At the time, no one understood what was happening, and the uncertainty was overwhelming. It left me feeling paralyzed—frozen in time and space by fear.
As a Critical Role fan (since 2016), I turned to their content for comfort during this difficult period. Through this, I discovered an original song that resonated deeply with me, and after a week of listening, I learned it was performed by none other than Laura Bailey. I listened to it repeatedly, and over time, it helped me slowly regain my sense of self.
The song reminded me of my inner strength and resilience, encouraging me by reflecting on the many trials I had already overcome. It reinforced my belief that, despite the uncertainty, I would persevere, and so would my loved one.
In the hospital, I began singing this song softly as a lullaby, holding their hand as I did so. It may not have been the most conventional lullaby, but it brought me a sense of peace in one of the most difficult times of my life. I wanted to share it, as I now understand, more than ever, the fear and heartache of those who are worried for their loved ones. I truly empathize, and I hope this song can offer some comfort to others, as it did for me.
Daughter Of The Sea
The Nightsong – (Nuven’in)
I am a passionate admirer of both Divinity Original Sin 2 and Baldur’s Gate 3. Having immense respect for everything Larian Studios has accomplished with the games. Their contributions to the gaming industry are groundbreaking, and I hold deep admiration for every actor involved in bringing their characters to life within their worlds.
That said, Dame Aylin holds a particularly special place in my heart, and when I say that I cried—truly gutt wrenching tears—during that moment in Act 2, I mean it with the utmost sincerity.
The music composed for Baldur’s Gate 3 is nothing short of extraordinary. So, inspired by my love for both Dragon Age and Baldur’s Gate 3, I wanted to create something unique—an acapella choral rendition that merges the two universes. In this piece, I’ve incorporated my own lyrics in Dragon Age Elvish, crafting a version of the song that continues to move me deeply, even to this day.
In 2020, I began exploring the capabillities of my voice in a musical setting by creating original choral compositions. One challenge I’ve faced consistently in the past was the difficulty in finding suitable, non-copyrighted backing tracks, as many required expensive licensing fees or posed other restrictions for creating my own covers.
To overcome this, I started experimenting with riffs, melodies, sweeping vocal techniques, and soaring sounds, allowing my instincts to guide me as I recorded what felt most authentic.
As a Norse Pagan witch, I sought to develop a form of Galdr (singing magic) that could be incorporated into my personal spiritual practice.
This piece is a reimagining of my original work, which can be found in the playlist linked above.
Witches Temple – Original Music
I didn’t ask for this.
Inspired by this, I felt compelled to create my own interpretation of the song, drawing on these powerful themes.
At the time, there was no official backing track available, so I decided to produce a soundscape cover of Beth Crowley’s original, aiming to evoke the feelings of isolation and loneliness that trauma often imposes. I sought to convey the guilt, fear, and self-blame that survivors of trauma may experience, as well as the vilification of the symptoms that trauma can manifest.
The song reflects the experiences of Nesta Archeron, the eldest sister in A Court of Thorns and Roses, and her journey through these challenges. While I won’t delve into the specifics of the plot to avoid spoilers, I highly recommend reading Sarah J. Maas’s work for those who haven’t yet discovered her storytelling.