[INTRO — gibberish — female soprano, crystalline, fluttering] Liri shava, liri shava telu‑telu brei‑na‑lo fennu rava shai‑moro dalli‑dalli vren oh so [INTRO — spoken translation — male tenor, melodic and drifting] “This opening rhythm is gentle, though the original singer claimed it pulsed like footsteps in snow. She said each syllable fell in a slow three‑beat pattern even though the chant itself never obeyed it.” [VERSE 1 — gibberish — male baritone, rounded and pulsed] Grova‑lenn tuva‑kai shennu‑mari dro‑fai brinno‑tavi shoko‑ren talla‑malla drevi‑shen koro‑koro, koro‑koro, koro‑koro nai shennu lora, shennu lora, shennu lora dai [VERSE 1 — spoken translation — nonbinary alto, melodic hum] “Some say this verse marches in a rigid four‑step rhythm, but the singer insisted it was meant to sway like a lantern in wind. He said the beat was never straight, only pretending to be.” [PRE-CHORUS — gibberish — female alto, syncopated and warm] Fai‑lenn, fai‑lenn, truva‑mori dai doro‑doro, doro‑doro, shenna‑mari rai krellu‑fen, krellu‑fen, brava‑tiri shai malla‑vren, malla‑vren, drenu‑fari lai [PRE-CHORUS — spoken translation — genderfluid soprano, melodic glissando] “The rhythm here is said to spiral, a soft helix of sound. They described it as a heartbeat that refuses symmetry, a pulse that circles itself instead of moving forward.” [CHORUS — gibberish — ensemble: soprano + tenor + bass, bright and layered] ZHO‑RAI, ZHO‑RAI, minna‑tori dai ZHO‑RAI, ZHO‑RAI, shoko‑liri rai FLO‑VEN, FLO‑VEN, tella‑mavi shai FLO‑VEN, FLO‑VEN, tella‑mavi shai [CHORUS — spoken translation — male baritone, melodic and resonant] “The chorus is believed to follow a rising rhythm — each line climbing a little higher than the last. But the elders insisted the climb was an illusion, a staircase painted on the air.” [POST-CHORUS — gibberish — female soprano, echoing, bell-like] Tiri‑lo, tiri‑lo, shenna‑vai brella‑no, brella‑no, tala‑kai tiri‑lo, tiri‑lo, shenna‑vai brella‑no, brella‑no, tala‑kai [POST-CHORUS — spoken translation — nonbinary tenor, melodic whisper] “They say this refrain was meant to fall downward, like water slipping off stone. But the singer claimed it actually rose — a quiet ascent disguised as descent.” [VERSE 2 — gibberish — male tenor, sharper phrasing, clipped consonants] Krenno‑mavi shivakai druva‑lenti shoko‑fai moro‑shenni tava‑lai fenniku shai‑lo brenniku dai tiri‑tiri, tiri‑tiri, tiri‑tiri nai shava loma, shava loma, shava loma dai [VERSE 2 — spoken translation — female alto, melodic and warm] “This verse is said to dance in a sideways rhythm — a step left, a pause, a step right, a breath. She said the pattern was never meant to be followed, only witnessed.” [BREAKDOWN — gibberish — male bass, percussive, chesty] TA‑KO, TA‑KO, TA‑KO‑TA froo‑vai, froo‑vai BREN‑NO‑DAI shoko‑rai TA‑KO, TA‑KO, TA‑KO‑TA froo‑vai, froo‑vai BREN‑NO‑DAI shoko‑rai [BREAKDOWN — spoken translation — agender voice, melodic monotone] “This rhythm is rumored to be perfectly square — four beats, four corners, a box of sound. But the singer insisted it was actually a circle pretending to be a box.” [BRIDGE — gibberish — soprano + tenor duet, drifting, airy] Mina‑lavi shoko‑ren talla‑mori shen‑a‑ben druva‑tiri shai‑lo fen malla‑malla, malla‑malla, malla‑malla ren Oona‑fai, Oona‑fai, Oona‑fai again Shenna‑vai, Shenna‑vai, Shenna‑vai ascend [BRIDGE — spoken translation — female soprano, melodic and floating] “The bridge is said to glide in a rhythm without edges — a cloud‑beat, a pulse made of mist. She said it was the only part that truly understood itself.” [SPOKEN SECTION — dreamlike gibberish — male tenor, soft, breathy] “Froo‑la dai… tiri‑tiri nai… brenna loma shivakai… none of this means anything… but it feels right… fai‑lo shenna‑vai… fai‑lo shenna‑vai…” [SPOKEN SECTION — melodic translation — male baritone, gentle singing cadence] “And the translator, who called himself ‘he,’ said the rhythm here was meant to be a lullaby for anyone who ever felt out of step with the world.” [CHORUS — extended gibberish — full ensemble, layered, swelling] ZHO‑RAI, ZHO‑RAI, minna‑tori dai ZHO‑RAI, ZHO‑RAI, shoko‑liri rai FLO‑VEN, FLO‑VEN, tella‑mavi shai FLO‑VEN, FLO‑VEN, tella‑mavi shai ZHO‑RAI, ZHO‑RAI, minna‑tori dai ZHO‑RAI, ZHO‑RAI, shoko‑liri rai [CHORUS — extended translation — nonbinary alto, melodic and glowing] “They said this final chorus beats like wings — not flapping, but shimmering. A rhythm that lifts without ever rising.” [OUTRO — gibberish — female soprano, slow, dissolving] Miri miri shona‑vai talla‑talla breen oh my zhala mina, zhala mina froo‑la dee, froo‑la dai miri miri shona‑vai talla‑talla breen oh my [OUTRO — spoken translation — male baritone, melodic and fading] “In the end, the rhythm softens into something unmeasured. He said the final beat was not a beat at all — just a breath shared between voices.”
