I love you. This is an incredible piece of music; especially for a low-budget horror, even as much as a masterpiece as The Beyond/L'Aldila is. I find it haunting, bleak and yet beautiful.
One of the coolest Italian horror movie soundtracks for sure, the movie itself is probably in the top 5 of Italian horror classics. Great version, I especially like the 1:30 - 1:56 part and the end theme.
I read once that salate is the conversation between Mohammed pbuh and Gabriel pbuh ❤❤❤ Waw! And indeed! When you imagine their meeting during israa and miraj it just fits perfectly specially when Gabriel pbuh is saying pbuy oh Mohammed oh prophet of Allah … So beautiful ! She exists she’s there she’s the aldila and if it wasn’t his fitra he would’ve never made such beauty of sound as he just like you and me knew and sensed her, may you all join her in tawheed here: ❤
One of the best, most haunting themes from a movie ever. This theme from The Beyond, and 'Apoteosi Del Mistero' from City of the Living Dead are some of Fabio Frizzi's best.
Possibly the best horror movie score of all time. Cadabra Records released Frizzi's 'Composer's Cut' several years ago and it is somehow even better than the original.
Why is everyone excited about "House by the Cemetery"? Honestly I didn't find this movie great, neither its music. But I still did an extended edit for "Verso il Terrore".
Bravo Gilles❤👏🏻 June 17th would have been Lucio Fulci's birthday.💖🔝👏🏻😍 Excellent opportunity to celebrate the master of the macabre with his "death trilogy". I saw this movie. Great Fabio Frizzi❤👏🏻 Research: It is considered Fulci's most visionary and extreme film, and has become a cult film among lovers of the splatter genre. It was re-released in 1987 and 1988, both times under the title “The Afterlife”. It was screened in a restored version in 2004 at the 61st Venice International Film Festival, as part of the Secret History of Italian Cinema - Italian Kings Of The B's series. In 1998, Quentin Tarantino restored the film and distributed it for the first time in the United States of America, in its full version. The film was born from an idea of the producer Fabrizio De Angelis, who obtained pre-financing from some foreign producers when there was still neither a subject nor a screenplay, but only the title of the film. To write the script, Dardano Sacchetti was called, author of the screenplays of Fulci's previous horror films, “Zombi 2” and “City Of The Living Dead”. Sacchetti wrote the story of the film in ten days. The model was the novel “The Turn Of The Screw” by Henry James. Subsequently, the script was revised by Giorgio Mariuzzo and Lucio Fulci himself. Catriona MacColl had already played the role of the female protagonist in “City Of The Living Dead”. For the protagonist the Roman director chose David Warbeck, who had already had a role in his "Black Cat", and had had an excellent relationship on set with Fulci. Emily was to be played by Stefania Casini, who turned down the part as she did not want to wear the optical lenses required for the role. In the end, Emily was played by Cinzia Monreale, fresh from "Buio Omega" by Joe D'Amato, who used the pseudonym Sarah Keller. Veronica Lazar had been the Mater Tenebrarum in “Inferno” by Dario Argento. The actress was wanted by Fulci. Lucio Fulci appears in a cameo, as the librarian who hands the ladder to Martin before he falls to the ground. The film's extras were recruited among the homeless of Rome, who were paid with copious doses of whisky and vodka. During production, Fulci (notoriously very harsh with his actors, especially with the actresses) had problems especially with Cinzia Monreale and Antoine Saint-John. The latter even fled from the set, because he was stressed by the constant make-up sessions. The film is peppered with a series of whispers. The idea came to Fulci after hearing the effect that actor Pino Colizzi always inserted into his films. This effect, called "the dome" by Fulci, consisted of making some actors pronounce a series of words full of s, and was used for the first time in "City Of The Living Dead". Fulci defined his film as "Artaudian", after Antonin Artaud, the famous French playwright who theorized the theater of cruelty. Fulci declared: «The message I was trying to communicate is that our life is a terrible nightmare and that the only escape is to hide in this world outside of time. At the end of the film the protagonists have these eyes without sight and there is this desert without light, without shadows, without wind... absolute nothingness. I think I've gotten closer to what most people think about the afterlife." Over the years there has been talk of a possible sequel to the film, titled "Beyond The Beyond", in which John and Liza returned from the kingdom of darkness and took Emily's place as guards on the threshold between the two worlds. Some rumors claimed that there were several minutes of footage of the film, while a French fanzine published a sort of brochure of the film. David Warbeck confirmed the existence of the project in the audio commentary on the film, present on the DVD. Fulci's daughter Antonella later denied all rumors about the sequel, revealing that a screenplay titled "Beyond The Beyond" actually existed, but was created with speculative intent.
I'm double responding which is taboo but I have a question. Does anyone familiar with this soundtrack know who the fretless bassist is? He is absolutely phenomenal I would love to hear other stuff he has done. Bassline is so so good
Fabio Pignatelli of Goblin. Besides their own film scores, the Goblin band members were session musicians often hired to play on scores by Frizzi, Stelvio Cipriani, Pippo Caruso, and others. Many great films, much great music (even if not always sounding like Goblin). City of the Living Dead, Nightmare City, & Geometra Prinetti Selvaggiamente Osvaldo are 3 good examples, all featuring the Goblin rhythm section.
Thanks for responding I'm sorry I just saw this now. Ironic that I find out now that it is him doing the fretless bass on this piece because what rang familiar to me was he does a staccato single note part while the chord progression moves around I believe it's off the top of my head either a third or a fifth and he stays put playing 16ths with a very treble slightly 1K sound really high up on the neck which adds to the suspense of the part as it never resolves and it gives a lot of tension it's brilliant. He does it quite a bit in the suspiria soundtrack as well besides the beautiful seamless baselines moving about. Thanks for the information. Appreciate it. I know goblin were monster talented and accomplished session guys. I was born after a lot of that stuff was made but my father was an artist and a fan of Italian horror and when I was younger when I started becoming interested in composition once I was playing for a few years He would let me hear a lot of those arrangements and The mood they could create with soundscapes and such. I am a studio guitarist here on the East Coast and I really have been diving deep into a lot of '70s '80s and '90s soundtracks. Every time I would listen to goblin tracks it would move me. They could be scary or beautiful or what have you but we're excellent at eliciting emotion. At the drop of a hat they could change gears and it was always seamless and really well executed. I just finished my triple espresso so apologize for the caffeine driven rant. Thanks for the information again, be well my friend
Just a "PLEASE", would be nice. It feels like you are giving me an order here, and it's not really polite. And yes, house by the cemetary is scheduled for Monday, Suspiria I haven't done that one yet (soon).
![Fabio Frizzi: The Beyond "Suono Aperto/Sequenza Coro E Orchestra Suite" [Extended by Gilles Nuytens]](http://i.ytimg.com/vi/5f_Jr5NUWGw/mqdefault.jpg)
![James Horner: The Mask Of Zorro Theme [Extended by Gilles Nuytens]](http://i.ytimg.com/vi/-vInLrewOzI/mqdefault.jpg)
le top ce film merci pour la musique
I love you. This is an incredible piece of music; especially for a low-budget horror, even as much as a masterpiece as The Beyond/L'Aldila is. I find it haunting, bleak and yet beautiful.
Quel talent ! Quel pied ! Superbe travail, comme d'habitude ! Merci Gilles 💖
One of the coolest Italian horror movie soundtracks for sure, the movie itself is probably in the top 5 of Italian horror classics. Great version, I especially like the 1:30 - 1:56 part and the end theme.
This isn't making the wait for Grindhouse Releasing's 4K (which has only had a "soft announcement" with no date) any easier 🤣
And you will face the sea of darkness, and all therein that may be explored
Awesome stuff Gilles, the movie was suprisingly good.
Muchas gracias por haber subido la versión extendida de esta película, es de mis soundtracks favoritos del cine
Saludos desde México
I read once that salate is the conversation between Mohammed pbuh and Gabriel pbuh ❤❤❤ Waw! And indeed! When you imagine their meeting during israa and miraj it just fits perfectly specially when Gabriel pbuh is saying pbuy oh Mohammed oh prophet of Allah …
So beautiful !
She exists she’s there she’s the aldila and if it wasn’t his fitra he would’ve never made such beauty of sound as he just like you and me knew and sensed her, may you all join her in tawheed here: ❤
This is some cool as hell shit.
One of the best, most haunting themes from a movie ever. This theme from The Beyond, and 'Apoteosi Del Mistero' from City of the Living Dead are some of Fabio Frizzi's best.
Agreed. Old Italian horror and giallo movies had amazing themes.
The main theme of Zombi 2 is also pretty memorable, although it's technically a darker take on Mystery's Apotheosis
@@peppermillers8361 I love that theme too! Man, those decades had some sick soundtracks across so many movies and genres.
Brividi.
wat een mooi lied ook! topwerk!
Really enjoyed your interpretation with the arrangement. Great work Nice editing skills
Excellent ❤
Possibly the best horror movie score of all time. Cadabra Records released Frizzi's 'Composer's Cut' several years ago and it is somehow even better than the original.
Que des BO que auxquelles je vous un culte!
Arte puro
Superb! I'm excited for House by the Cemetery ost
Why is everyone excited about "House by the Cemetery"? Honestly I didn't find this movie great, neither its music. But I still did an extended edit for "Verso il Terrore".
@@GillesNuytens I love the melody of that song, it is so catchy. The atmosphere in House by the Cemetery is eerie and inviting, I feel comfortable
@@zet7585 I will post it Monday.
@@GillesNuytens You're amazing, Mr Gilles
I'm trying to see if I can add the "Bambino theme" but I tried before and it didn't went very great.
Very Haunting...
Bravo Gilles❤👏🏻
June 17th would have been Lucio Fulci's birthday.💖🔝👏🏻😍 Excellent opportunity to celebrate the master of the macabre with his "death trilogy". I saw this movie.
Great Fabio Frizzi❤👏🏻
Research: It is considered Fulci's most visionary and extreme film, and has become a cult film among lovers of the splatter genre. It was re-released in 1987 and 1988, both times under the title “The Afterlife”. It was screened in a restored version in 2004 at the 61st Venice International Film Festival, as part of the Secret History of Italian Cinema - Italian Kings Of The B's series. In 1998, Quentin Tarantino restored the film and distributed it for the first time in the United States of America, in its full version.
The film was born from an idea of the producer Fabrizio De Angelis, who obtained pre-financing from some foreign producers when there was still neither a subject nor a screenplay, but only the title of the film. To write the script, Dardano Sacchetti was called, author of the screenplays of Fulci's previous horror films, “Zombi 2” and “City Of The Living Dead”. Sacchetti wrote the story of the film in ten days. The model was the novel “The Turn Of The Screw” by Henry James. Subsequently, the script was revised by Giorgio Mariuzzo and Lucio Fulci himself.
Catriona MacColl had already played the role of the female protagonist in “City Of The Living Dead”. For the protagonist the Roman director chose David Warbeck, who had already had a role in his "Black Cat", and had had an excellent relationship on set with Fulci.
Emily was to be played by Stefania Casini, who turned down the part as she did not want to wear the optical lenses required for the role. In the end, Emily was played by Cinzia Monreale, fresh from "Buio Omega" by Joe D'Amato, who used the pseudonym Sarah Keller.
Veronica Lazar had been the Mater Tenebrarum in “Inferno” by Dario Argento. The actress was wanted by Fulci.
Lucio Fulci appears in a cameo, as the librarian who hands the ladder to Martin before he falls to the ground. The film's extras were recruited among the homeless of Rome, who were paid with copious doses of whisky and vodka. During production, Fulci (notoriously very harsh with his actors, especially with the actresses) had problems especially with Cinzia Monreale and Antoine Saint-John. The latter even fled from the set, because he was stressed by the constant make-up sessions.
The film is peppered with a series of whispers. The idea came to Fulci after hearing the effect that actor Pino Colizzi always inserted into his films. This effect, called "the dome" by Fulci, consisted of making some actors pronounce a series of words full of s, and was used for the first time in "City Of The Living Dead".
Fulci defined his film as "Artaudian", after Antonin Artaud, the famous French playwright who theorized the theater of cruelty. Fulci declared: «The message I was trying to communicate is that our life is a terrible nightmare and that the only escape is to hide in this world outside of time. At the end of the film the protagonists have these eyes without sight and there is this desert without light, without shadows, without wind... absolute nothingness. I think I've gotten closer to what most people think about the afterlife."
Over the years there has been talk of a possible sequel to the film, titled "Beyond The Beyond", in which John and Liza returned from the kingdom of darkness and took Emily's place as guards on the threshold between the two worlds. Some rumors claimed that there were several minutes of footage of the film, while a French fanzine published a sort of brochure of the film. David Warbeck confirmed the existence of the project in the audio commentary on the film, present on the DVD. Fulci's daughter Antonella later denied all rumors about the sequel, revealing that a screenplay titled "Beyond The Beyond" actually existed, but was created with speculative intent.
Total coincidence, I had no idea about Fulci's birthday! Good thing here (this kind of coincidence happens a lot to me, don't know why).
😁👍🏻
13.3.1996 lucio fulci 🎉🎉🎉
I'm double responding which is taboo but I have a question. Does anyone familiar with this soundtrack know who the fretless bassist is? He is absolutely phenomenal I would love to hear other stuff he has done. Bassline is so so good
Fabio Pignatelli of Goblin. Besides their own film scores, the Goblin band members were session musicians often hired to play on scores by Frizzi, Stelvio Cipriani, Pippo Caruso, and others. Many great films, much great music (even if not always sounding like Goblin). City of the Living Dead, Nightmare City, & Geometra Prinetti Selvaggiamente Osvaldo are 3 good examples, all featuring the Goblin rhythm section.
Thanks for responding I'm sorry I just saw this now. Ironic that I find out now that it is him doing the fretless bass on this piece because what rang familiar to me was he does a staccato single note part while the chord progression moves around I believe it's off the top of my head either a third or a fifth and he stays put playing 16ths with a very treble slightly 1K sound really high up on the neck which adds to the suspense of the part as it never resolves and it gives a lot of tension it's brilliant. He does it quite a bit in the suspiria soundtrack as well besides the beautiful seamless baselines moving about. Thanks for the information. Appreciate it. I know goblin were monster talented and accomplished session guys. I was born after a lot of that stuff was made but my father was an artist and a fan of Italian horror and when I was younger when I started becoming interested in composition once I was playing for a few years He would let me hear a lot of those arrangements and The mood they could create with soundscapes and such. I am a studio guitarist here on the East Coast and I really have been diving deep into a lot of '70s '80s and '90s soundtracks. Every time I would listen to goblin tracks it would move me. They could be scary or beautiful or what have you but we're excellent at eliciting emotion. At the drop of a hat they could change gears and it was always seamless and really well executed. I just finished my triple espresso so apologize for the caffeine driven rant. Thanks for the information again, be well my friend
upload house by the cemetary and suspiria soundtracks next
Just a "PLEASE", would be nice. It feels like you are giving me an order here, and it's not really polite.
And yes, house by the cemetary is scheduled for Monday, Suspiria I haven't done that one yet (soon).
@@GillesNuytens Please
Die Geisterstadt der zombies beste top 3 all time ask 2 pac
🧟♂️🧟♀️🧟♂️🧟♀️🧟♂️
Canibus