This track doesnt exist in the same format as the movie, Young tells EW.

It was adapted for the soundtrack.

But this is a key point in the film.

The lead character has had an unbearable loss, and the audience gets to experience the aftermath.

This is also when we see two cemetery scenes.

The evil pulsing is when we see the evil Pet Sematary.

ENTERTAINMENT WEEKLY: As the track begins, the rhythm almost sounds like a heartbeat.

Is that what you were going for?CHRISTOPHER YOUNG:Absolutely.

It was the throbbing heartbeat of someone who is set on doing something wrong.

Its the kind of heartbeat that happens to someone when they step over the line.

Then that pulse becomes so driven, it felt to me almost like a dirge a funeral dirge.

Was that jot down of music an influence?Yes, toward the latter part with the chords.

A string orchestra is playing minor chords but they are being stretched and are dirge-like.

The inspiration comes from music that acknowledges the burial of someone important.

It is intentionally dirge-like.

Its supposed to make you feel like youre entering a dark, sacred, and twisted cemetery.

Around the 1:20 mark I hear notes sung by what sounds like a little girl.

But theres a distortion.

Then there are these whispered voices darting back and forth between the stereo.

Can you reveal what those voices are actually saying?They arent saying anything specific.

Its really a collection of different random syllables that are modified.

Theres also a squeal, it almost sounds like tires.

Whats creating that sound?These are modular synth sounds that are based on vacuum tubes.

The low baaaaaaaah is again a modular synth derived from a vacuum tube.

That translates to different sounds and music, depending on the needs of the film.

I think thats the thing directors often respond to.

A genuine effort to provide more than just stock, scary music.

At the end of the day, I think people understand that this is really alive for me.

I truly understand the genre; its ingrained in me.

You previously did the music for a Stephen King film with George RomerosThe Dark Half.

I won him over by putting together a suite of music that aptly described the book.

So the first time he heard it was when he was on the dub stage.

I was terrified would he like it or not?

But indeed, he was extremely happy with the music.

Your score and Elliot Goldenthals for the 89 film also could not be more different.

I read the screenplay before I met with the directors of the newPet Sematary butI havent seen the original.

I was going to but thought it would cloud my head.

I listened to some of the score, but not all of it.

By contrast, his score is an acoustic score and mine is electronic.

I also like track No.

6 (Scream For More), which is created entirely with voices, a cappella.

Again, I stretched the sounds, moved them backward and forward, and bent the pitches.

I really putrefied them.

I also really like the last track, No.

15 (Wasnt the Beginning).

The closing track didnt make it into the film, so you will only find it on the soundtrack.