Shadow World Community Project: Finding the best songs for a SW-album...

[Micael]

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**Layana's Songfire: The Rise of the Grand Music Contest**

In the waning decade of the 61st Century, as the skies over Sel-kai gleamed with the lights of skybarges and the noble salons of Haalkitaine pulsed with age-old harmonies, a storm of sound and style was brewing—one that would fracture traditions and enthrall the masses.

The spark? A bard. A scandal. A crystal.

Lady Layana Ixbridge, a high-born bard of noble Rhakhaanese blood and student of the legendary Minstrels of Noron, became the unintentional herald of a musical revolution. Two years prior, during an expedition with her companions to lost ruins in northern U-Lyshak, Layana uncovered a cache of piezocrystal memory spheres—relics long thought dormant and mundane.

To their astonishment, the spheres bore not only the thoughts of a Second Era savant—a fanatical chronicler of sound—but recordings: echo-memories of music not of this age. Among the audible visions were the whispered chants of the K'ta'viiri, the soaring, synthetic orchestrations of the Jinteni, and even unsettling harmonic structures attributed to the Taranian survivors of the Interregnum.

Each participating city submits its chosen performance in crystal form—aurally, visually, and magically preserved. Judged not just on melody, but on originality, spell-weaving, instrumentation, and emotional resonance, the winner earns the title of Harmonic Crown-Bearer until the next year's cycle.

This musical renaissance, born of alien echoes and bardic defiance, now reshapes the arts of Kulthea. New schools of composition emerge, mages take up song, and bards once relegated to taverns now command armies of listeners in magical amphitheaters.

And still, rumors persist: that deeper within Layana's hoard of memory crystals lies one recording... not from Kulthea at all.
At first, her performances—employing reconstructed alien instruments through raw spellcraft—were derided. Selkai's nobility sneered at the rhythmic pulses and atonal shifts. In Haalkitaine's Marik Theatre, her debut was called a "sorcerous cacophony fit for street dogs and drunk apprentices." Yet outside the marble-walled estates, her songs caught fire. Literally, in some cases, as summoned flame-horns and essence-woven aether-drums danced above raucous amphitheaters.

Soon, the House of Kieron in Selkai consecrated wine with Layana's songs. Mage-artisans from Lys began crafting arcane instruments that mimicked the quindara but sang in alien scales. The city's palaces and pleasure halls filled with what many called "Soundfire"—music impossible to perform without magic.

Thus was born the Grand Music Contest of Kulthea, now known widely as Layana's Songfire. Initially held in Sel-kai's Great Circle, the first arena-born gatherings drew thousands, with memory crystals capturing every tune, shimmer, and tear of joy. The tradition spread quickly—first to Haalkitaine's Imperial Amphitheater, then into the forests of northern Jaiman, even into the great Elven forest near Norek.

Yet, politics followed fast behind the melodies. An infamous dispute broke out between Merchant Prince Rylec Qaterris of Eidolon and Emperor Jerryk Faslurin of Rhakhaan. Each claimed their domain harbored the greatest music and artistry of Kulthea. To resolve the growing rivalry (and avoid another royal duel on the Bay of Izar), Layana proposed a compromise: send the recorded memory crystals to Nomikos, the legendary city of lore, where a jury of musicians—ancient, modern, and possibly non-human—would judge the year's performances.

This Jury, now known as the **Council of Harmonic Truth, includes:**

1. Zenfelir the Bard of Selkai, a Linær Elf whose mastery of the quindara is unmatched.

2. Prince Toren Faslurin, heir and accomplished medir soloist.

3. Liryndi Nomir, a Myri high-voice known for interpreting the tonal syntax of the ancient Shay tongue.

4. Chor Talyn, a Priest of Kieron who plays symphonies with wine-glasses and fire.

Let this be known for all people on Kulthea that the competition starts now.

Have Fun!
Micael

[Micael]

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  New Shadow World Community Project
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"Haunting Songs of Kulthea" – A Musical Journey Across Eras and Echoes
Coming Soon to Spotify

The worlds of Kulthea are rich with melody, myth, and magic—and now, we invite you, the global Shadow World community, to join us in shaping its sound.

Inspired by the in-world lore of Layana Ixbridge, the rebellious noble bard who uncovered ancient memory crystals containing the strange music of the First and Second Eras—including rumored tones of the K'ta'viiri, the Jinteni, and other alien peoples—we are launching an ambitious community-driven project:

"Haunting Songs of Kulthea"

A curated, fan-voted Shadow World music album—to be recorded and released on Spotify and other streaming platforms.

  Your Role in the Project

Whether you're a bard, composer, Loremaster, or passionate listener, we need your creativity to bring this vision to life:

:musical_score: SUBMIT your original compositions where you own all rights exclusively using lyrics from Kulthean history inspired by Shadow World's diverse cultures—be they Linæri harp ballads, haunting Raekin trios, Taranian synthetics, pop music from reality which is fitting or street chants from Sel-kai.

  VOTE on your favorite tracks—entries will be recorded into our "memory crystal archives," and the top-voted pieces will form the final album.

SHARE your musical inspiration—Did you imagine an Erlin bard at the hearth or a chorus echoing from the Tower of Mount Jarak?

:classical_building: Curated by the Council of Harmonic Truth

All fans on discord or the forum will get the nominated songs and can vote them into the album.

This album is not just a celebration of Shadow World's sonic depth—it's a collaborative time capsule, capturing what music means in-universe and out-of-character.

** Project Timeline**

Submission Period Opens: October 17st, 2025

Community Voting: every 2 weeks for deciding one song out of two
Release Date (Tentative): Spring 2026

Platform: Spotify, ICE Forum, Discord and others

   Join the Conversation!
Share your ideas and demos on the ICE Forums, Discord, or tag your work with #SongsOfKulthea on social media.

Let's echo the legacy of Layana Ixbridge and bring the Haunting Songs of Kulthea to life—across cultures, across eras, and across worlds.

Have fun!
Micael

[Micael]

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Starting this community project with the story around the beloved great female Emperor Vania of Emer. The lyrics of both versions are the same, but the musical interpretation is different. Just decide in the following vote, which of these two song versions would be  called more positive attention to Shadow World and of course which version you like most.

1.  Vanias Fall
link to community server google drive song

2. The scepter of Emer
link to community server google drive song

link to poll/voting on ICE discord server:
link to voting on ICE discord server

If you need an invitaton to the ICE discord server because you never used it before, click here:

invitation to ICE discord server

Have fun!
Micael

[Micael]

Shadow World Community Call — Your Feedback Needed!
link to ICE discord server discussion
Now that the Haunting Songs of Kulthea project has had a few days to settle in, it's time to truly make it a community creation—and that means your voice matters!

Join the discussion here

We'd love your thoughts on a few key aspects:

1. The Story Behind the Project

Do you enjoy the lore-based concept with Layana Ixbridge and the memory crystals from ancient eras?

Any ideas to expand or adjust the setting?

Would you like to see it tied even more deeply into specific regions or NPCs?

2. Rules & Participation

Are the submission and voting rules clear and fair?

Would you suggest changes to encourage broader participation?

Anything you'd like simplified or added?

3. The First Songs

Some initial pieces are already taking shape—both lyrics and melodies.

What do you think of the lyrics? (Do they feel lore-rich, poetic, or immersive?)

How do you feel about the melodies and vocalists?

Any favorites or suggestions?

This is our chance to build something beautiful together—a cultural artifact of Kulthea that lives in both the real world and the world of Shadow. Your feedback will help tune the harmony.

Looking forward to hearing your voices—on and off the stage.

[Micael]

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The Songfire Part 2:
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An anonymous source further revealed: "For the next performance, the Redcapes are expected to question the jury quite thoroughly about the curious criteria behind their choices..."

The same source claimed that Lady Layana Ixbridge herself was quietly pressured into returning to Sel-kai, where she is now performing as lead vocalist for the Emer presentation—supposedly to help secure its success.

Meanwhile, Emperor Jerin of Jaiman was said to be quite amused by the turn of events, noting that Layana already performed a verse in the Jaiman version of the song into a memory crystal. "Now," he reportedly quipped, "her voice will grace both sides—no matter who wins, she sings."

1. The Lord of Ulor (Emer Version)  link to song 1

2.  The Demise of the Phoenix Crown (Jaiman Version)  link to song 2

The poll for your votings is up here: link to voting on Discord ICE server

Have fun!
Micael

[Micael]

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The Songfire Part 3:
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Now we are going back to aerie songs from the elves- the listener who can tell me as one of the first in which language the Iylari are singing will get a special opportunity...

1. The Fall of the Iylari (Remiraith Jaiman Version)
link to mp3

2. Iylari's Fall (EMER Namar- Tol version)
link to mp3

For the Story, newspaper and poll for voting look here on the ICE discord server:
link to ICE discord server voting anD story


Have fun!
Micael

[Micael]

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The Songfire Part 3:
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Cloudlords of Tanara Threaten the Songfire Contest

A tense spectacle unfolded above Sel-kai and Haalkitaine as Cloudlords of Tanara swept over both cities on their winged steeds, issuing an unspoken warning to the Order of the Songfire. Their anger targets Layana Ixbridge's daring new verse, which exposes long-buried atrocities committed during the Yinka raids of early 2500 SEI and the later genocidal hunts of the Second Era. Her Worim‑influenced additions reveal a history the Cloudlords hoped forgotten, sparking diplomatic outrage. Officials now fear escalation, as the sky-riders' display marks the boldest Tanaran interference in cultural affairs in decades. Yet both the Emperor of Jaiman and the Merchant Prince of Sel-kai have publicly affirmed that artistic truth must not bow to political discomfort. Their stance, bold and uncompromising, now raises uneasy questions: will this defiance ignite open conflict, or could the Cloudlords attempt to destroy the Songfire arena itself? Rumor spreads quickly that the famed adventuring band once connected to Layana's youth has gathered again—an enigmatic Rhakhaan noble, Sirona the Linoess, and Samira, a formidable Ilourian summoneress, now stand ready to shield the event. Lorodor, another companion, still carries the stain of last year's scandal involving an alleged Unlife-tainted Arnak cult, but nevertheless stands ready, too.

1. Hail the Cloudlords (Emer Version): link
2. The Cloudlords of Tanarra (Jaiman Version):
link

The voting poll is up: link to vote on ICE discord server

Have fun!
Micael

[Micael]

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The Songfire Part 5 :
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The Order of the Songfire has once again changed its plans at short notice—this time to publicly honor the Six, who have taken up the role of bodyguards in Sel-kai amid the growing threat from the Cloudlords.

This event is not new: link to Epic stories of Gryphonburgh (the Six)  Near Gryphonburgh, the Six once broke a cult devoted to Klysus, Death-God of Charôn, and to his son Akalatan. Since that day, they have remained a constant irritation—perhaps even an obsession—to that shadowed power.

And at the center of the storm stands Layana Ixbridge. A few years ago she penned a song that seemed, at the time, merely bold. Now it has become famous—carried by the recent wave of metal-lute symphonies inspired by the Worim, fused with the strange, elegant ballad-tones attributed to the Jinteni.

1. Klysus the Soultaker (Jaiman Version): link to song 1

2. Soultaker and Akalatan (Emer Version): link to song 2

link to community voting on ICE server:

Have fun!
Micael

[Micael]

After this post there will be a little break till mid of January- by the way, the song today was used for the interview between Nicholas and Micael Elandi on Dragonmeet.:

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The Songfire Part 6 :
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Two Storms, One Stage: The Songfire Turns

The Six are reunited together through the Navigator Sulfean. And this time, it wasn't just rumor or nostalgia—it was a spectacle of hard power.

When the Cloudlords dared to shadow the Songfire again, the skies above Haalkitaine answered with steel and decree. By direct order of the Emperor of Jaiman, the air over the capital was swept clean—no riders, no warnings, no "silent messages" allowed to hover over art and crowds. Witnesses speak of a fast, brutal display: coordinated spellwork, disciplined blades, and the kind of confidence that only comes from surviving too many disasters together. The message was simple: the Songfire will be protected—by law, by force, and by legend. And our research finally got a little more background about this special High Bard Layana Ixbridge- we found her child diaries- exclusively here to read for all: link

And while the heavens cleared, the stage caught fire in a different way.

At last, the public heard what many had only whispered about: the first dancehall version from Sel-kai of the infamous "Six Crowns of Jaiman"—a roaring, crowd-driving hit built to shake stone and pulse through packed arenas. But it didn't stand alone. Across the contest it now clashes with a ballad version steeped in "deep trance", one of the newest—and strangest—music styles said to trace back to Taranian influence: slow, hypnotic harmonies, layered tones that feel less like a song and more like a spell trying to remember your name.

So the Songfire turns again—two cities, two sounds, two truths:

And somewhere between anthem and trance, the whole continent leans forward, waiting to see which rhythm wins.

1. Selkai (EMER) Dancehall Version Crowns of Jaiman link
2. Haalkitaine Deep Trance BAllad Version: Six Crowns of Jaiman link
The Vote is up: link

[Micael]

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The Songfire Part 7 :
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The War of the Gods: When Memory Becomes Music

And now the Songfire turns its gaze further back: far beyond cities and rival courts—into the deep, shared memory of Kulthea itself.

The next contest does not speak of princes or present fears, but of the War of the Gods, the final thunder of the Second Era, when the Wars of Dominion reached their terrible end. In those days, when the Unlife spread unchecked and the Dark Gods of Charôn sought to unmake the world, the Lords of Orhan did what they had long avoided: they came down in person.

Old chronicles tell of the skies breaking open, of seas made furious, of mountains burning with divine fire. God fought god in a series of ultimate battles: on land, in the air, and beyond mortal sight. They fought until the Dark Powers were cast down and Kulthea was spared annihilation. It is said no song can truly capture those moments. Yet bards have tried ever since.

Now, two do so again—each in a radically different voice.
The first roars forward as marching Lute Metal: heavy, relentless, forged in the newer Worim style. Its rhythm drives like an advancing host, strings struck and bowed as if they were weapons, evoking divine legions descending in lockstep to war. It is loud, uncompromising, and meant to be felt in the chest rather than understood in detail.

The second answers with Progressive Rock, equally Worim in origin but far more intricate. Layered movements rise and fall like the battles themselves: chaos, sacrifice, triumph, and terrible loss woven into shifting harmonies. Where the march commands, this piece questions; where the first declares victory, the second lingers on the cost of divine intervention.

Both seek the favor of the jury. Both claim to honor the same truth.

The War of the Gods:
(Emer classic Lutemetal): link
(Jaiman progressive Rock): link

link to the voting on ICE discord server: link

Have fun!
Micael

[Micael]

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The Songfire Part 8 :
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Whispers Too Loud: A Songfire Scandal Unfolds

What was intended to be the darkest and most unsettling entry of this year's Songfire has already become its first true scandal.

The song, titled "The Unlife – Shadows Whispering," was halted and rewritten by direct decree of Emperor Jerin himself, an intervention almost without precedent in the long history of the contest. Court officials confirmed that the original lyrics were deemed dangerously seductive, presenting the Unlife not as the slow destruction it truly is, but as an easy path to power, certainty, and release.

At the heart of the outrage stood the imagery surrounding the Arnak Order, whose brutal priests were portrayed less as agents of ruin and more as grim figures of forbidden strength and purpose. According to sources close to the Imperial Circle, this portrayal went too far.

"There must be no song that turns damnation into opportunity," the Emperor is said to have declared. "The Unlife is not rebellion, not freedom, and not enlightenment. It is an addiction, and once embraced, it rarely releases its hold."

Advisors warned that the song risked becoming unintended propaganda, a form of dark promotion that romanticizes forces responsible for the fall of cities, the corruption of heroes, and the erasure of entire bloodlines. The Unlife, they stressed, offers no clean ascent, only a swift descent that consumes its bearer and poisons everything nearby.
The revised version of the song will stay in the competition, though its most tempting verses were personally removed by Layana Ixbridge. To balance the loss, she introduced several Jinteni-inspired musical passages, offering a new point of comparison in place of the cut lines. The whispers promising power without cost are gone, replaced by harsher tones, broken rhythms, and an ending that fades not into victory, but into silence.

Whether the jury will favor this colder truth over the forbidden allure of the original remains uncertain. What is clear is that, for the first time in this Songfire, the struggle is not about style or skill, but about whether darkness should ever be allowed to sound beautiful. And a deeper truth is hidden behind all of this: Nobody knows, who authored the song and in spite of the Orhan church had nominated it for the songfire, nobody inside the church feels responsible for the original text- a mystery still to be solved.

Shadows Whispering -  The sweet Lure of Unlife (Jaiman Version): link to song
The Unlife - Shadows Whispering (EMER Version) link to song 2

Have fun!
Micael

[Micael]

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The Songfire Part 9:
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Another Whisper in the Halls

No sooner had the scandal of The Unlife – Shadows Whispering begun to fade than a new shadow crept across the Songfire.

In the aftermath of the censored lyrics, our scribes sought the origin of the most alluring passages. Quiet inquiries, sealed letters, and long evenings in temple archives led to a troubling pattern. Certain phrases, certain turns of doctrine and promise, seemed to trace upward through respected channels and into the highest ranks of the Church of Orhan itself.

Before this account could be prepared for print, something changed.

Our own reporter, who had pressed the investigation with relentless determination, suddenly demanded that the article be halted. He argued against publication with unusual urgency, insisting the matter be forgotten. Those who spoke with him describe a man altered in tone and conviction, as if a curtain had fallen behind his eyes. He would not explain his reversal.

Soon after, messengers arrived from influential circles advising us that the affair would be best left undisturbed. For the peace of the realm, they said. For the unity of faith. For reasons too delicate to share.

We leave our readers to draw their own conclusions.

Yet the Songfire does not pause for intrigue.

The next performances turn toward tragedy rather than corruption. The Demise of the Phoenix Crowns recounts the sorrow of an age of peace and grand experiment that once spanned an entire continent, only to collapse into catastrophe and mark the end of the Second Age of Ire.

One composition rises as fierce Worim lute metal, capturing the ruin and fire that followed the fall of the Crowns, each chord struck like a hammer against history. The other takes the form of a mournful Taranian style ballad, lingering on the memory of a golden era now reduced to ash, its melody heavy with loss and longing. Both compositions are more like a Anthem putting many style changes into one song and are the longest performances so far.

Thus the Songfire moves from whispered temptation to remembered disaster, and the jury must decide which voice best carries the weight of a fallen age.

The Demise of the Crowns: Fire and Ruin (Jaiman Version): link

The Demise of the Crowns: The Lost age of peace (Emer Version): link

Have fun!
Micael

[Micael]

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The Songfire Part 10:
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Shadowflow of the Once-Dark: One Story, Two Voices

The Songfire has unveiled another unexpected contender, a new musical fashion spreading from taverns, academies, and traveling stages alike. Musicians call it Shadowflow, a rhythmic storytelling style that blends spoken verse with driving instrumental patterns.

Both Emer and Jaiman now present their versions of the same tale: the long and troubled life of Elor Once Dark, the half-elven Loremaster whose brilliance and fall into shadow have haunted Kulthean history for centuries.

The story in both performances is identical.

The verses recount Elor's early fame among the Loremasters, a prodigy whose hunger for knowledge led him into dangerous mysteries. They describe his brief and infamous brush with the Unlife, the betrayal of allies during that dark time, and the long years of regret that followed. The songs continue with his return to the path of truth, his vast chronicles of history, and his strange later life filled with dangerous relics, secret vaults, and the quiet exile of his island home in the Saralis hills.

Yet the two courts present the same tale in very different musical form.

In the Emer performance, the delivery is sharp and direct. The singer speaks most of the lines in rapid rhythm, each verse pushed forward by the beat of drums and lute strings. The words strike quickly, almost like a historian arguing his case before a crowded hall. Listeners describe it as a style where the story is spoken over music, intense and forceful.

The Jaiman version follows the same sequence of verses and the same history, yet the tone shifts. Here the lines move between spoken passages and melodic chanting. Words rise and fall with a haunting cadence, part speech and part song, carried by layered voices that echo the weight of centuries behind the tale.

Thus the Songfire presents a rare contest: one history, one figure, one narrative, but two completely different musical spirits.

In Sel-kai the crowds argue long into the night.
Some favor the raw clarity of the Emer Shadowflow.
Others prefer the ritual cadence of the Jaimanese chant.

And the jury must now decide which voice best carries the legend of the Loremaster known throughout Kulthea as Elor Once Dark.
Elor once Dark: Emer Shadowflow Version: link
Elor once Dark: Jaiman Shadowflow Version: link
Have fun!
Micael

[Micael]

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The Songfire Special Holiday Performance:
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Look at this thread for the campaign audio immersion:
link

[Micael]

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The Songfire Part 11:
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Lament of the First Fire — A Voice from a Lost World

From the depths of forgotten ages come two melodies unlike any heard in the Songfire before.

Preserved within an ancient Althan memory crystal, recovered by adventurers a millennium ago and only recently acquired by Layana Ixbridge through a remarkable bargain, these songs have now been revealed at last. After long and careful decryption, the crystal yielded two intertwined laments: one in the original Iruaric tongue, the other rendered into the common speech by Layana herself.

Together, they tell of the end of the First Era, when the mighty K'ta'viiri, the Lords of Essænce, brought ruin upon their own world.

Once masters of a civilization where magic and technology were one, the K'ta'viiri ruled not only Kulthea but vast reaches beyond. Yet their power bred arrogance, and their rulers turned cruel and reckless. The final conflict came as a civil war between Empress Kadæna, who sought to reshape the world through destruction, and Utha, who rose in defiance to preserve what remained.

The songs speak of a world torn apart.
Of the Shadowstone, fueled by countless souls.
Of the Soulsword, forged beyond time.
Of oceans boiling, continents sinking, and the sky darkened beneath ash.

They mourn the moment when Utha struck down Kadæna, ending her tyranny—but also sealing the fate of an entire civilization. In victory, nothing remained untouched. The K'ta'viiri were broken, their world shattered, and the long night began.

These twin ballads do not celebrate triumph.
They remember loss.

In slow, sorrowful tones, the Lament of the First Fire carries the grief of a world that burned itself to silence—and the faint echo of those who survived only to watch the ashes settle.

"Linæ viir thea" (Song of the World's End in Iruaric): link
Lament of the Frist Fire (translated): link2

here the link to the vote: votelink

Have fun!
Micael

[Micael]

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The Songfire Part 12:
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Timemagic of Gnomese: Shadows of the Clocktower

The next Songfire entry arrives under a cloud of rumor, fear, and official denial.

These two songs from the Second Era were preserved by an unknown and deeply troubling source. More disturbing still, the text appears to have been altered in subtle ways after it had already been used, but before it was ever published. Investigators within the Rhakhaan secret ministry now claim that the changes bear the marks of Time Magic itself.

That accusation alone is enough to chill any hall into silence.

Long ago, the Navigators and Loremasters joined in condemning Time Magic as dark and forbidden. By their decree, it was erased from all lawful study. Worse still, the Gnomes, said to be among the first masters of temporal arts, were struck from libraries, records, and even from living memory so completely that it came to seem they had never existed at all. As long as they remained hidden upon their small island of Gnomese, no one cared to challenge the silence.

Now that silence may be broken.

Either the Gnomes have returned at last, or some darker power has taken hold of their lost craft for purposes of its own.

The two competing performances of "Timemagic of Gnomese vs. Shadows of the Clocktower" tell the same unsettling tale in different forms. The Jaiman version takes the shape of Shadowflow, tense and rhythmic. The Emer version embraces a theatrical style, turning the same mystery into a staged descent through forbidden time.

Timemagic of Gnomese - (Jaiman): link
Shadows of the Clocktower (EMER): link
Have fun!
Miceal

[Micael]

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The Songfire Part 13:
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The Song of the Hidden Key

A quieter wonder now enters the Songfire, yet one no less dangerous than the loudest metal hymn or darkest Shadowflow. Today, to meet the needs of our growing readership, we are introducing the newest printing-press format for this special edition of the Songfire Chronicle.

For years, many knew of the Flute Keys only as strange Earthwarden relics tied to the old bridge near Gryphonburgh. Scholars and rumor-mongers alike spoke of their powers in fragments: that they could open portals, rouse the four Gryphon Sentinels, raise warding barriers between the bridge lamps, and even command the Blue River itself—drying its bed or turning it into a violent torrent. Yet one truth remained hidden: most who carried or studied such a key had never mastered more than a fraction of what it could do.

Now, for the first time in public, Layana Ixbridge has unveiled what many believed lost forever: that a Flute Key does not yield its fullest strength to mere handling or skill alone. It demands a song. Not simply melody, but a true act of attunement: the bearer must learn the key's own hidden composition and sing the binding words while playing, or else the artifact remains only half-awake. Worse, the old records warn that an unskilled or unattuned user may trigger dangerous and unpredictable effects.

The key Layana now performs with is said to be one she found years ago near Gryphonburgh, where the old bridge still stands as a mystery of Second Era or older craftsmanship, linked by lore to other ancient Earthwarden sites. Through such a key, a skilled wielder may choose destinations within the portal network itself, including the Earthwarden tower in the Argirpiri or the Lon Lemira on Vog Mur.

That alone would have been enough to stun the audience.

But it was the song that silenced the hall.

Layana did not merely demonstrate an artifact. She revealed that each Flute Key may have its own song, its own path to awakening, and that the piece she performed was not a courtly embellishment but the very rite by which her relic answers her call. If true, then the Songfire has crossed into new ground entirely: music is no longer describing power, but becoming the key to power itself.

And so the whispers now spread through Sel-kai and beyond:

How many more of these instruments still sleep in forgotten ruins?
How many songs have been lost with them?
And if one melody can open a bridge, call gryphons, and command a river... what might the right voice awaken next?

Jaiman song: link

Emer song: link

Have fun!
Micael

[Micael]

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**Author's note:** I originally planned to save the melody of this great song for my upcoming *Princes of Amber* metal album, but it felt too fitting not to share it with the Shadow World community already, paired with a new set of lyrics. So here it is at last: the final entry in our song contest.



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**The Songfire Part 14: At the End the Greatest song....**
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**The Fate of the Last Duskwalkers**

The final great contest of this Songfire may prove its darkest.

Tonight, two rival performances seize the stage with the same forbidden burden of history. One comes as **Shadowflow**, a hard and relentless dark epic from Jaiman, its verses striking like accusations in a midnight court. The other answers in **Dark Doom Flute Metal**, slower, heavier, and ritual in tone, as if grief itself had found a voice in iron and bone.

Both carry the same song: **"The Fate of the Last Duskwalkers,"** also whispered of as the **Ballad of the Secret Circle**.

Yet scandal followed the piece even before the first note was played.

In the final moments before presentation, several unknown hands are said to have interfered with the text. Lines shifted. Phrases softened. Names blurred. Some now ask whether the true tale of the Duskwalkers carries too much dangerous knowledge for common ears. Others suspect fear, or perhaps the work of those who still profit from silence.

But the tampering did not stand.

Witnesses near the stage swear that **Layana Ixbridge** herself restored the original text only seconds before the performance began, correcting the altered lines by hand while the hall still held its breath. So the audience heard not the safer version, but the harsher truth.

And it is a cruel truth indeed.

The song remembers the **Duskwalkers**, last guardians of a ruined age, who orchestrated the Fall of Kadæna and stood after the First Era drowned in fire. It tells of **Utha**, of the Soulsword, of the Eight who were left to watch over a broken world. It follows **Andraax**, bearing knowledge across centuries like a wound that never closed. It speaks too of loss: of **Ondoval**, returned from darkness with the Unlife inside him, and of **Jereneth**, whose fate birthed horror instead of remembrance. (By the way the verse about Schrek and Ondoval was altered the most)

No triumph fills this ballad. Only vigilance, duty, and the slow price of surviving too long.

That is why the contest feels so dangerous. This is no simple lament for dead heroes. It is a reckoning with the truth that even victory can leave only ashes, and that the burden of guarding the world may destroy those sworn to save it.

So the jury now faces a grim choice.

Will they favor the biting clarity of **Shadowflow**, where history is spoken like a verdict?

Or the crushing weight of **Dark Doom Flute Metal**, where every note falls like a stone upon a grave?

By dawn, one version will rise above the other.

But whatever the verdict, the Songfire has already done what some clearly wished to prevent.

It has made the last Duskwalkers speak again.

Emer Flute Metal Version: link
Jaiman Shadow Flow Version: link

Link to the voting: link

Have fun!
Micael

[Micael]

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Here now at last all the winner songs for the Shadow World Community song album:
Note, that the cover is an AI variant of the not AI version, I presented to ICE last year at Dragonmeet. At the moment I am producing an Intro video for my favorite "Six Crowns of Jaiman" - thank you! All the many fans of Shadow World who voted for over half a year.

Part 1:
The scepter of Emer ⁠⁠⁠⁠link

Part 2:
The Lord of Ulor (Emer Version) link

Part 3:
Iylari´s Fall (EMER Namar-Tol verion) link

Part 4:
The Cloudlords of Tanara (Jaiman Version): link

Part 5:
Klysus the Soultaker (Jaiman Version): ⁠⁠⁠
link

Part 6:
Six Crowns of Jaiman (Haalkitaine Deep Trance Ballad Version):link⁠⁠⁠

Part 7 :
The War of the Gods: (Emer classic Lutemetal): ⁠⁠⁠link

Part 8:
Shadows Whispering -  The sweet Lure of Unlife (Jaiman Version):
link

Part 9:
The Demise of the Crowns: The Lost age of peace (Emer Version): link

Part 10:
Elor once Dark: Jaiman Shadowflow Version: link

Part 11:
Lament of the First Fire (translated from Iruaric- the other version is Iruaric): link

Part 12:
Shadows of the Clocktower (EMER):
link

Part 13:
The Sound of the Flute Keys: Song of Opening Jaiman Version: ⁠
link

Part 14:
Fate of the Last Duskwalkers: Jaiman Shadow Flow Version: link