As a contemporary opera, DeM emerges from chaos as a sonic reflection on the human beings internal struggle against forces that transcend them: meaning of power, technology, nature, time, and desire.
Instead of telling a traditional narrative with defined characters, the work is structured through abstract tensions -faceless conflicts-that oscillate between resistance ans surrender, decay and regeneration. The piece is divided into five main arias plus preludes.
Each section combines various instrumental, vocal, and electronic configurations, including elements such as a broken violin, unconventional percussion, and electronic organ.
The treatment of sound moves away from ornamentation: each element functions as an expressive vehicle, channeling extreme physical and emotional states.

Don Juan, the first aria, a collaboration with violinist Sara Claman, has become an independent work (see explanation in the catalogue). Le Fou et la Reine, structured as a prelude et aria, presents a liturgical irony that contrasts melodic beauty with internal rupture. There's a subtle irony in the tuning itself. The ensemble, read vertical rather than linearly, overlaps in a way that is at once solemn, ritualistic, yet independent. Slaves of Dust is a "consecration and fall", where rythm becomes ritual and repetition becomes trance. The interpelation leads us into a sonic exhaustion that reveals, if it wasn't already clear, that the harshness of the piece lies not in the score but in the fatigue of the performer and the rawness of the result. Tears of Rome contemplates a ruin and redemption, whit semi-sung texts and a dramatic use of resonance.

Reconstructing a postmodern eucharistic rite, it seeks to collapse the climax of the work. Blood, Sweat & Leather is the culmination of the subject: where breathing collapses the amount of rawness. As sarcastic as it may seem, it demands radical emotional and physical exposure. The body inits most vulnerable state.