Released on Movie Score Media, THE LAST FICTION, is without any doubt an interesting and innovative score, composer Christophe Rezai has incorporated many Iranian folk songs and elevated these into rich symphonic themes, that support and enhance this already imposing and powerful animated feature. It is a work that is literally filled with a richness of melody and a driving and commanding array of both atonal and theme laden compositions. The composer has re-imagined and given new life to numerous Iranian folk songs and music. Incorporating these into the score took a lengthy and detailed period of research into the traditional music of Iran, the composer at times converting the folk sounds into choral works that are haunting, celestial and enthralling. The film takes it inspiration from the classic THE BOOK OF KINGS by Ferdowsi, which follows the stories of two central characters, Prince Zahak who in league with the devil makes his ascension to the throne of Ancient Persia and also the hero of the story Afaridoun, who is the only one who can stand against evil and save the people in the Kingdom from the clutches of darkness and evil. The film is a masterpiece of animation and of story telling and is helped greatly by a pulsating and rhythmic soundtrack, which embellishes and enhances the story that is unfolding upon screen, the score is not just a background to the story but as the film progresses the music develops and becomes an integral part of the film. The French born, but now Tehran based composer, has worked on numerous television projects, and has also scored a handful of motion pictures, for directors such as Dariush Mehrjui, Mani Haghighi and Shahram Mokri, I think will be sought after by many when this movie is more widely seen. There are pieces within the score that are grandiose and fully dramatic, which have to them an imposing and exciting persona, and then we are treated to many choral passages which range from being fragile and soothing to complex and foreboding. The composer at one-point incorporated elements of Zar Music into the score, which are based upon a traditional Persian exorcism ceremony which is still practised in parts of southern Iran. The composer at times also employs a more contemporary sound, which is heavy on the percussion with fuzzy electric guitar scratching out a rock orientated composition, but even this is punctuated and further embellished via driving low strings that bring a more urgent and fearful aura to the proceedings. The components that Rezai has utilised and cleverly woven into the fabric of his score go to make up an interesting and groundbreakingly innovative work and is certainly a score that you should take a listen to. It combines the ancient and traditional with the symphonic and contemporary  and Eastern musical influences with western orchestration. The  result is a stunning work. Recommended.

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