Uploaded May 2026 | Updated September 2026, 3 weeks ago
Vocals & arrangement by Farya Faraji. This is a French traditional choral chant often touted, incorrectly, as a Crusader chant of the Middle-Ages, something rather obviously untrue given the modern compositional form of the music, as well as the even more obvious fact that the lyrics are in Modern French completely unlike the Old French of the actual songs of the Crusader era, which I've also covered.
Instead, this seems to be a chant from the 1900's, harkening to the era of the restorations of the French monarchy following the French Revolution. The chant exemplifies the extreme opposite of the values of the secular, anti-classism Revolution, instead being steeped deep in Catholic religious imagery, themes of crusade and holy war, and praising the nobility and importance of royal dynasties, referring to them as "holy families." In this, the song reveals a fascinating window into a traditionalis, deeply religious and monarchist worldview found within French history, things that are often intertwined in France, where deeply Catholic tendencies have historically overlapped with monarchist stances. This is a reality that is fascinating to contrast with songs such as La Guillotine Permanente, which I've covered previously and am currently reworking, that express the opposite end of this political-social spectrum.
I arranged this song within the tradition of French choral music, a centuries old tradition of polyphonic choir settings performed in concert halls, primarily within academic and official settings. This tradition is characterised by large choirs, usage of Classical orchestral instruments such as the harp and orchestral drums, and polyphonic voices harmonising together.
Lyrics in French:
Sellez et bridez donc belles monturesVrais chevaliers tombez toute parureArmez-vous, drapez-vous de votre foiFrères chrétiens le Seigneur vous envoie
Nos enfants exaltent de joieFront de l’amour et chantant sans peurDe nos âmes ils vont défendreLa Jérusalem de leur cœur
Les remparts d’une sainte familleFoyer, chaleur qui point ne vacillentLes fortes enceintes des dynastiesOffrant tutelle à tous ses amis
La fleur fade est de courtoisieLa fleur de France s’est remiseRoi Saint Louis, à l’ombre du chêneBrille pour cette terre promise
Translation:
Saddle and bridle your noble mounts, then
True horsemen, cast aside all finery
Arm yourselves, cloak yourselves in your faith
Christian brothers, the Lord sends you forth
Our children exalt with joy
Bearing love and singing without fear
They will defend with their souls
The Jerusalem of their hearts
The ramparts of a holy family
A hearth, a warmth that does not falter
The strong walls of dynasties
Offering protection to all their friends
The faded flower is that of courtesy
The flower of France has risen again
King Saint Louis, beneath the shade of the oak
Shines for this promised land
Vocals & arrangement by Farya Faraji. This is a French traditional choral chant often touted, incorrectly, as a Crusader chant of the Middle-Ages, something rather obviously untrue given the modern compositional form of the music, as well as the even more obvious fact that the lyrics are in Modern French completely unlike the Old French of the actual songs of the Crusader era, which I've also covered.
Instead, this seems to be a chant from the 1900's, harkening to the era of the restorations of the French monarchy following the French Revolution. The chant exemplifies the extreme opposite of the values of the secular, anti-classism Revolution, instead being steeped deep in Catholic religious imagery, themes of crusade and holy war, and praising the nobility and importance of royal dynasties, referring to them as "holy families." In this, the song reveals a fascinating window into a traditionalis, deeply religious and monarchist worldview found within French history, things that are often intertwined in France, where deeply Catholic tendencies have historically overlapped with monarchist stances. This is a reality that is fascinating to contrast with songs such as La Guillotine Permanente, which I've covered previously and am currently reworking, that express the opposite end of this political-social spectrum.
I arranged this song within the tradition of French choral music, a centuries old tradition of polyphonic choir settings performed in concert halls, primarily within academic and official settings. This tradition is characterised by large choirs, usage of Classical orchestral instruments such as the harp and orchestral drums, and polyphonic voices harmonising together.
Lyrics in French:
Sellez et bridez donc belles monturesVrais chevaliers tombez toute parureArmez-vous, drapez-vous de votre foiFrères chrétiens le Seigneur vous envoie
Nos enfants exaltent de joieFront de l’amour et chantant sans peurDe nos âmes ils vont défendreLa Jérusalem de leur cœur
Les remparts d’une sainte familleFoyer, chaleur qui point ne vacillentLes fortes enceintes des dynastiesOffrant tutelle à tous ses amis
La fleur fade est de courtoisieLa fleur de France s’est remiseRoi Saint Louis, à l’ombre du chêneBrille pour cette terre promise
Translation:
Saddle and bridle your noble mounts, then
True horsemen, cast aside all finery
Arm yourselves, cloak yourselves in your faith
Christian brothers, the Lord sends you forth
Our children exalt with joy
Bearing love and singing without fear
They will defend with their souls
The Jerusalem of their hearts
The ramparts of a holy family
A hearth, a warmth that does not falter
The strong walls of dynasties
Offering protection to all their friends
The faded flower is that of courtesy
The flower of France has risen again
King Saint Louis, beneath the shade of the oak
Shines for this promised land
![Peroz of China - Epic Chinese Iranian Music
Music & vocals by Farya Faraji, guzheng by Yiang Ling, erhu by Amanda Toh, artwork by J.F Oliveras: https://jfoliveras.artstation.com/projects/NGd80J
This is me having some fun mixing together the modern Iranian and Chinese musical traditions as a thematic way to represent Peroz III, the son of the last Sasanian Emperor who went to exile in China. Promoted as a high ranking military officer of the Tang-era Chinese realm, he would, alongside his son Narsieh, try to reconquer Iran with the military aid of China from the hands of the Arab Muslims, but would ultimately fail to do so. Despite this, a Zoroastrian, Iranian diaspora would continue to exist in China for many centuries afterwards as refugees from the Islamic invasion of Iran.
The main melody at the beginning was created from first writing a typical Iranian melody in the mode of Shur, and then subtracting notes from it in order to create a pentatonic effect; the principal melodic form of Chinese music. I also added my Sasanian leitmotif, played in the manner of modern Persian Classical music using the setar, tar and oud, with the tombak as the drum accompaniment. The Iranian daf provides the main percussions throughout most of the piece, and theyre accompanied by the guzheng, erhu, yangqin, a Chinese dulcimer, the santour, a closely related Iranian dulcimer, and the Iranian ney flute.
More interestingly, the melody that starts at 02:48 is a historical melody from circa the period of Peroz III, played on modern Chinese instruments. Called Jiu Huzi, or the Wine Puppet, this melody comes to us from Tang-era China, and was transcribed in the 70s by Laurence Picken, who found it surviving in 12th century Japanese manuscripts, where it was called Shukoshi. The reason I featured this melody goes beyond its era-appropriate nature, as its a piece of music that is inherently linked to the Iranian world. The piece of music seems to be in reference to a tradition of puppetry that portrayed Sogdians, an Iranic people related to the Persians, whose wine seemed to have been prized by the local Chinese. An important Sogdian diaspora seemed to exist there, and these puppets would portray the exotically dressed, red-haired and blue eyed Sogdian character getting drunk and falling over. In The Golden Peaches of Samarkand: A Study of Tang Exotics (1963), Edward H. Schafer, paraphrasing the Japanese scholar Ishida Mikinosuke, writes: The same young poets who languished over the pretty Iranian waitresses in the metropolitan wineshops laughed at the little puppets representing drunken Sogdians, with their peaked caps, blue eyes, and high noses, with which they played in houses of prostitution when the ridiculous puppet fell over, the guest at whom it pointed had to empty his cup... These puppets were called chiu hu-tzu [i.e., jiu huzi, 酒胡子] or pu tsui hsien [i.e., bu zui xian, 捕醉仙].
The lyrics come from the Ballad of King Vahram, part of which I sang in my song of the same name from 2021. A piece of Middle-Persian Zoroastrian text from after the Islamic invasion (some scholars argue very soon after the invasion), it represent the hopes of the Zoroastrian Iranians for the return of a messianic figure from India who will drive away the Muslims and restore the native religion to the land.
Middle-Persian lyrics:
Be niger ka čand wad abgand ān druz pad ēn gēhān ka nēst wattar az ōy andar gēhān.
Mazgitīhā frōd hilēm, be nišānēm ātaxšān uzdēszārīhā be kanēm ud pāk kunēm az gēhān, tā wany šawēnd druz-wišūdagān az ēn gēhān.
Frazaft pad drōd šādīh
English translation:
Behold how much evil that demon has cast upon the world,
There is no more evil than they in the world,
We will destroy the mosques, establish fires,
We will raze the idol temples and blot them from the world,
Til evil gets destroyed, the daevic creature from the world,
Finished with salutations and happiness. Peroz of China - Epic Chinese Iranian Music](https://i.ytimg.com/vi/jeJ2YeOUO84/mqdefault.jpg)









