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The score uses a basic ensemble of piano, drums, synthesiser, electric bass and guitar, a line-up similar to the one established by Fabio Frizzi in his scores for Fulci. The signature sound of The House by the Cemetery is a heavily flanged electric guitar, which seems to twist and curdle in the air like decaying filaments of some malevolent odour seeping from the cellar of “that Freudstein house… that Freudstein house”. “Quella Villa”, which underscores the film’s opening scenes, is a Morricone-influenced piece for jagged rhythms, hammered into our nerves with syncopated drum and piano. It’s not the most subtle approach but this is a Lucio Fulci film after all, and besides, Rizzati also delivers some breathtakingly beautiful passages, reflecting the sadness that permeates so much of Fulci’s work, in particular the various incarnations of “Tema bambino” which underscore the parallel universe of pretty little dead girl Mae (Silvia Collatina). “Chi Sta Arrivando” glooms across the soundstage like a spectre snooping around a favourite hunting ground, while “Incontro” melds curdling guitar with a piano motif that sounds like something played by ghosts in the back room of a dusty antique shop. Of course the title music “I Remember” is the centrepiece, resonating with all that is marvellous in Fulci’s Gothic horror cinema. Like J.S. Bach scoring “The Hammer House of Horror”, it’s a gleefully macabre organ recital with phantasmal singers wordlessly flitting around the melody, the whole thing delivered with a slow pomp that suggests the funeral cortege of a deceased prog-rocker.