* 50th anniversary edition, completely rebuilt and mastered by Chris Malone from first-generation master tapes* The film is about a newspaper reporter and a retired, blind journalist who try to solve a series of killings connected to a pharmaceutical company’s top-secret experimental research projects; in doing so they become targets of the killer. Ennio Morricone can be considered the inventor of the giallo sound, as he was the inventor of the Spaghetti Western sound or the political-cinema sound. For The Cat o’ Nine Tails, Morricone demonstrated his uncanny ability to range from melodies of exquisite, lyrical beauty to some of the most uncompromising and alienating avant-garde sound experimentation ever heard in film. When the previous soundtrack for Argento’s first movie had proved to be a really tough listen, here Morricone goes even further, creating a really dissonant and avant-garde sound, with practically one single basis theme in the form of a few essential bass guitar notes. In those same years, after all, the Maestro was part of Gruppo di Improvvisazione Nuova Consonanza, and the films of Dario Argento provided the perfect terrain where Morricone could experiment, without any boundaries.