At The Walls

These two tracks with an identical base, but very different feelings describe the loss of humanity, particularly within nature, where we once had beauty and left that behind. Human greed has caused damage to relationships and the environment; sometimes, we need a reminder of what makes us human!
The lyrics for the second track Terrestrial Invasion are as follows:

Where are you coming from?
I see you in the airwaves in the forecast heat, heat all day.
Feed me from your metal bucket.
Cancer grows from the sky.
Hot, chilling fever.
Aliens come from above.

Make contact with the moon.
Call down the sun to dust.
In metal buckets raise the sea walls.
Aliens come from above.

Is it aliens in the airwaves, or is it just us masquerading?
We stand at the basin, washing our faces of all recognisable traces.
Hope to leave what's human far behind in the deluge and the rubble.
Scrape clean the bottom of the barrel, clear out all our human decency.
Leave an alien behind in the heat and the radiowaves.
Does killing make you human does pain make you human does rape make you human? Does torture make you human, does crying make you human, does cheating make you human, does gambling make you human, does burning make you human, does torching make you human, does wickedness make you human, or is it love or is it trust, or is it patience, or is it kindness?

Make a decision whether you want to see yourself as part of humanity or made an alien in the pain
Take the decision to leave behind what you once saw necessary at the bottom of the barrel, fizzle lust and violence into the radiowaves
Throw out the metal buckets, abandon that pursuit of heat and the pursuit of pain.
Condense yourself into what is good, what is genuine and what is seen to be kind.
Find what makes you human in the light of the sun, not the heat of its darkness generated by the fuel of our pain.
Worship not the radiowaves, but what we are to be, what we were made to be, what we are found to be, what we are known to be; we are humans, we are humans, we are humans.

Terrestrial Invasion

Labby Jam

"Conatus" was selected one of the recommended works in "Rostrum of Composers 2018", category composers under 30. 

The Latin word conatus stands for impulse, struggling, striving, growing, effort and tension. Many famous philosophers such as Descartes, Hobbes, Spinoza and Leibniz have contributed to the definition of this term. It indicates an instinctive will to live and relates to various metaphysical theories of movement and inertia.
“Conatus” was commissioned by the festival Estonian Music Days 2018 and is written for a 16-speaker immersive sound system that was specially built in Tallinn’s St. Nicolas’ Church for this event. The main theme of the 2018 festival was “Sacred” and, aptly enough, Sumera’s piece “Conatus” also carries sacred undertones and has a meditative atmosphere about it.
Liina Sumera is combining acousmatic and electronic ele- ments in a way that neither forces them to compete with each other nor keeps them apart. Instead, they work in a symbiosis, morphing together, as it were, in a more organic manner.

Conatus - Liina Sumera

All tracks, except from the drums are sequenced on cubase 10PRO software and performed on an Alesis Vortex wireless playing a variety of Synths. Groove Agent 4 on the jam mode (hence the song) took care of the drums.

JAM LIKE YOU CAN

Impossible Feelings

Here's a great song that I arranged and produced for my friend and client Steve; Carmel Helene's amazing pipes light the powerful message on fire, and an all-star lineup of dignitaries lend their world-class talent to the arrangement / production.
Sort of Steely Dan-like.
Enjoy!

There Go I (v.2020)
Steve Kramer: Songwriter
Carmel Helene: Lead Vocal
Brandon Fields: Saxes
Bill Churchville: Trumpets
Nick Lane: Trombones
Larry Antonino & Tita Hutchison: Backup Vocals
Jay Setar: Drums & Drum Recording
Byron Fry: Arranger, Score & Charts, Producer, All Guitars, Bass, Keys & Sound Design, Engineer, Mix

Mastered by Gregg Olson

THERE GO I (v.2020)

Metro

This piece is unfinished, but I wanted to share what I have so far.  

In college, I played trombone in a low brass ensemble.  There were quite a few of us, probably around 12 trombonists, 1 bass trombonist, 4 euphoniums, and 2 tubas.  I am writing this piece with that experience in mind; that golden warmth and strength that comes from the low brass section is truly magnificent.  

The concept behind this piece is something near and dear to me, and that is the weakening of masculinity in our modern day culture.  Boys must be taught how to be men by older and wiser generations.  Our culture is the first culture in recorded history that lacks a rite of passage for boys when entering manhood.  This lack of understanding contributes to a lot of major problems in our society today.  I believe that in order for us to come out of these dark times, men need to learn what it means to be a man, and develop different habits and priorities.  

I am not trying to be sexist, I am not trying to be chauvinistic, I am simply stating that it's a fact that men have become weak, and the world needs us more than ever to rise up and strengthen ourselves, strengthen our ability to lead, protect, and provide a new world for all.

With Honor And Purpose We Rise

This is the first of three larger pieces for solo-voice, solo-instruments, full orchestra, choir and electronics – written from 2003 to 2005. 
Text by Lisa Spalt. WP at the Donaueschingen New Music Festival, 2005, SWR Vokal Ensemble, SWR Orchestra, Anna Maria Pammer, Gerald Preinfalk, Jürgen Ruck, Florian Müller.

powered by emphasis 1 (ballade 2) for soli, choir, orchestra and ensemble

as a contemporary composer denovaire writes chamber and choir music, but also produces music for media and games in the studio. he performs live mostly with his Indian string instrument "esraj" as well as piano and keyboards. 
the styles vary between Indian music, world music, avantgarde and experimental music, electronic music, rock music and contemporary improvisation.

At The Walls

denovaire

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