01	Suspiria						06:02
	02	Witch						03:13
	03	Opening To The Sighs						00:34
	04	Sighs						05:18
	05	Markos						04:07
	06	Black Forest - Blind Concert						12:35
	07	Death Valzer						01:53
	08	Suspiria (Celesta And Bells)						01:36
	09	Suspiria (Narration)						01:50
	10	Suspiria (Intro)						00:34
	11	Markos (Alternate Version)						04:11
	12	Suspiria (End Title)						03:50

"Argento - The Song of Death" - From Blood and Black Lace

Through the power of the visual image, Dario Argento has become a legend, but without his extraordinary use of music these images would never really have become alive. Of all the elements involved in the composition of Argento's films, music is undoubtedly the most important and dynamic.
The collaboration of Dario Argento and Ennio Morriconne would seem almost inevitable considering their backgrounds; Argento's earlier work on Sergio Leone's "Once upon a time in the West" enabling him to experience Morriconne's work at first hand. However, at the beginning of his career, somewhat understandably, he had not truly found his devastating cinematic style or progressive command of the music. This was to come later and so was the meeting of these two considerable talents failed to produce the great things which might have been hoped for. "The Bird with the Crystal Plumage" in 1970, with its jazz oriented score (a style which Morriconne carried through all three of his Argento directed works) both visually and musically, never amounted to very much, remaining far too plain and expressionless. With "Cat 'o' Nine Tails" (1971) the cycle continues, although more successfully, but here still we find Morriconne unwilling or unable to create any truly memorable themes, preferring to use rhythmic bass and drum lines, that work well enough in a disjointed way but finally fail to produce any real sense of satisfaction.

It could always be said, of course, that the uneasy and fragmented feel of the score was entirely intentional and a part of Argento's vision for the film but, in comparison with his later works, this technique leaves much to be desired. The composer's final contribution for Argento to date, "Four Flies on Grey Velvet" (1972) takes his jazz inspired scoring to its inevitable conclusion, with the movies leading character a member of such a band. Certainly, overall, much of the music for all three films is similar in tone and texture, although here at least Morriconne does inject one of his more stylized ideas, heard to the best effect at the film's climax and possibly heralding the beginning's of Argento's new understanding of film composition, both musically and visually. It is a pity that as a composer Ennio Morriconne did not contribute more memorably to the films of Dario Argento as he is certainly quite capable of brilliant things, but as a musical training ground for Argento himself, he could not have worked with a more exciting or progressive composer, so that it would be fair to suppose that over the course of three movies together, Morriconne's influence on his concepts and visions of film scoring would have been considerable.

Briefly moving away from his career on the Italian giallo genre, Argento next made the comedy "Five Days of Milan" (1973) with a score by Riz Ortolani. It was during this period that a major breakthrough was made for both Argento himself and, in many ways, the entire horror genre.


The Discovery of Goblin
The Italian group of young musicians were to be Argento's unusual and inspirational choice as composer of his next film, "Profondo Rosso" (Deep Red) (1975) with additional music by Giorgio Gaslini and with the advent of their unique musical style of powerful gothic rock and sinister melodies, they changed the face of Argento's movies.

Although the band are not given full reign during "Deep Red", only providing a few different musical cues which are used several times, the arrival of their music is quite electric and in terms of progression this cannot be over-stated as a major turning point. The main theme "Profondo Rosso" is simply brilliant and is Goblin at their best and although the film itself still contains many faults, the signs are clearly evident that Argento is moving forward. But it was with his next production both directionally and musically that he truly showed what he was capable of.

"Suspiria" (1976) was a departure for Dario Argento in several ways. Thematically, the introduction of the supernatural was a tremendous boost to his script and enabled him to do some new and exciting things, but it was with the music that the greatest progress was made. Goblin's score for "Suspiria" composed in collaboration with Argento himself (although how this arrangement actually worked is difficult to assess, with composer credit for all tracks on the soundtrack album having been given to Goblin) was, and is, unique. Sadly, the very facet which made it so outstanding and powerful, its sheer volume giving it a relentless and oppressive feel has, since its re-issue on video after doctoring, been lessened somewhat and greatly weakens the impact of the movie.*

Musically, the score incorporates all Goblin's usual instrumentation, but also includes some eerie vocal effects which combine to produce a genuinely unsettling feeling. The main theme used during the film, aptly entitled "Suspiria" is a haunting melodic line which builds upon itself creating an atmosphere of brooding menace. The opening sequence, where Jessica Harper arrives at an airport and walks out through some automatic sliding doors as the theme begins, is a magical moment and immediately commands the audience's attention. The thunderous quality of the score as a whole is its main strength and for this reason alone it is strongly suggested that any potential viewer track down an original copy. With striking and ominous tracks, including "Sighs" and "Black Forest", the power of Goblin's music here in its context for film is quite extraordinary. Most importantly, it was here that Argento finally found the true significance of film music at its ultimate best and learnt a very valuable lesson. It is interesting that much of the music was composed before the film was actually shot and Argento went as far as to have it played over loud-speakers during filming, enabling cast and crew to react to its atmospheric influence. This is an intriguing idea and one which could (and did in this case!) bring about some interesting and effective results. In Argento's career so far, this film was a milestone and, musically, it was as important as any other single film ever made, in that it broke new ground and has encouraged others to try new and progressive ideas, although admittedly and unfortunately, not as often as might have been hoped.

Argento's next project was as unexpected as it was welcome. His collaboration with American director, George A Romero, on "Zombies", "Dawn of the Dead (1979) was a great cinematic event, especially for true fans of the Horror/Fantasy genre and the fact that Argento produced the film also enabled it to have its score written by none other than Goblin!. Unfortunately, in the American release the music is toned down a good deal, losing once again a great amount of its power. However, Argento with his understanding of film music, which had developed through the course of his own films, made sure that there was a rather more effective mix in the version in Italy. Script-wise, it could be argued that this is the best film he ever worked on but, in many ways, there lies the main fault in all of his own productions. Argento is undoubtedly a great director whose own pre-occupation with sharp instruments of death is often his downfall! (Why? Ed.) Nevertheless, his films at their best contain a mysterious quality which is compelling in a way few others have ever been capable of. In many ways, "Inferno" (1980) is the most accessible of all the scores composed for Argent's films, as a complete work, with its strong blend of both orchestral and synthesized pieces. It was something of a surprise when he chose Keith Emerson to compose the music for "Inferno", especially considering how brilliant Goblin's music had been for "Suspiria" but obviously he wanted a different sound for this film. In fact, Emerson was not his first choice, as he very much wanted Tangerine Dream to work on the movie but when they were found to be unavailable, due to touring, Emerson, who Argento had seen "live" in concert, and had been much impressed by, (particularly when he drove knives between the keys of his synthesizers to produce extraordinary sound effects!), was the perfect replacement, and as has become usual, it proved to be an inspired decision.

The Musical score for "Inferno" is simply stunning, rich and brooding with an electrifying sense of atmosphere which compliments Argento's visuals wonderfully. The opening of the film with its main title full of foreboding is followed by "Rosies Descent into the Cellar", a brilliantly executed suspense piece, but what makes the score so memorable and imaginative is the changes in tempo and style such as the frantic synthesized "Taxi Ride (Rome)" and later the magnificent and classic "Mater Tenebrarum" with its choral vocals, a truly spell-binding piece of musical composition. This track is also used over the films end credits instead of the original track written, "Cigarettes, Ices, etc!" It can only be supposed that Argento liked it so much that he chose to reprise it! The entire score is one to be relished and with the film's conclusion Emerson rounds the whole thing off with the grand and inspiring "Inferno Finale" which, in conjunction with the director's images on screen, reaches a pinnacle of brilliance in the very final scene where Death literally brings the house down, leaving the viewer both impressed and a little awed!

This certainly is one of the great Argento film scores for what may be his finest film, and it can only be hoped that Keith Emerson makes a welcome return very soon.

When "Tenebrae" (1982) was announced, many hoped and expected the film to be the third part of the three mother's trilogy, but this was to be quite untrue. Also, the score was to be composed by three individuals answering to the names Simonetti, Pignatelli and Morante. For those familiar with Goblin, They are quite aware that these three men were members of the group, who it appeared had split up. However, once more, Argento's choice of composers was to be inspirational and even following Keith Emerson's brilliant work on "Inferno", the ex-Goblin's soundtrack for "Tenebrae" was a masterpiece. Combining their usual guitar, synth, bass and drums sound, we are treated to a superb, catchy main title which must rank as one of the classic film themes to ever have been written. It is a pity that the film itself left much to be desired in script content, Argento returning to his familiar giallo territory (one which unfortunately he seems determined to continue with!). Even so, the score is certainly among his rock inspired soundtracks (excluding "Inferno!), the most structurally accomplished with far more depth than the even earlier "Deep Red" or even, in some ways, "Suspiria"! The dynamic track, "Lesbo", which is as good as anything Goblin ever produced, is both commercially appealing and atmospheric. Sadly, in many ways, this score marked the end of and era for Argento, as since then he has used his music, although still to great effect, in a far more fragmented way, employing different composers, as well as pop songs and it would be nice to see him make a return to the full scoring style so outstandingly used on his previous movies. With "Phenomena" (a.k.a. Creepers) (1986), Argento decided upon using a variety of musical scores. Iron Maiden's track "Flash of the Blade" would seem appropriate and works well within the film, and there is also a rendering of Motorhead's "Locomotive", but there is some dissatisfaction with the score, not in what was written but what was finally used. Claudio Simonetti and Fabio Pignatelli, using the name Goblin once more in collaboration and respectively, composed some of their finest work to date, but sadly a great part of it never found its way into the film. Pignatelli's track "Jennifer" is barely heard in the UK release and even in the original Italian version, the piece is not presented in its entirely but, worse than this, the greatest loss of all is the complete exclusion of the Simonetti/Pignatelli track, "Jennifer's Friend". We can only guess as to where this music was originally intended to fit in, but its loss is indeed a great one as it is quite exceptional. Still, even with the work which was omitted, there are some outstanding contributions on the film's soundtrack, particularly Bill Wyman and Terry Taylor's "Valley", which opens the movie. This is a subtle piece which builds up dramatically to a charged finale, full of suspense and unseen menace. There was also originally several tracks composed by Simon Boswell, who has since gone on to score a number of Italian horror movies, including "Demons 11" and "Stagefright!". Those performed with his band, Andi Sex Gang, fail to appear in either version of the film, but his solo "The Maggots", a brief piece, worms its way into our ears! Of the contributions by Goblin which do make it onto the screen, the powerful "Sleep Walking" works best, and creating one of the most memorable fusions of visuals and music to have been devised by Argento in the scene where Jennifer first rises to go on her Somnambulists dark adventure. Also, Simonetti's theme, "Phenomena" is a fine offering and overall, although it could so easily have been so much more, the music for the film is another success in a long line of Argento musical highlights.

The formula used for "Phenomena" was also carried over for the Argento produced "Demons" (1987), although the song by, among others, Billy Idol, Saxon, Go West and Motley Crude, are only heard, in the main, briefly on radio. In fact, some of those chosen would have worked very well, if used properly in the film, especially Idol's "White Wedding", Rick Springfield's "Walking on the Edge" and The Adventure's "Send my Heart". The actual music for "Demon's" is composed by the now familiar Claudio Simonetti, who would appear to be the only ex-Goblin to be working regularly. This is a pity as the talented Fabio Pignatelli seems to rarely have the opportunity to work on film scores now and would be a welcome addition to the composers already established.

Simonetti's main theme "Demon", is a good rhythmic piece, but for the most part the track "Killing" carries the film along to pretty good effect. The music heard is not particularly varied, with again some work written remaining unused, but it is still very effective. Even so, it would still be nice to see Argento returning to complete scores rather than falling into the fashionable trap of including hit song as an attempt to sell both the film and its subsequent soundtrack.

In saying all of this, Argento's latest film "Opera" has had an album released exclusively of operatic music, ignoring other work used on the movie, including that of Claudio Simonetti. This is very unfortunate and a lamentable decision by those concerned. How the soundtrack music will work in the finished film remains to be seen and heard, but whatever its merits or failings it will be without doubt another bold step in the exciting and distinctive musical world of Dario Argento.


-By Mark Hockley
* NOTE: As this article originated in Britain, this reference is surely made about the censored video release available in that country at the time of the original writing. Since the writing of this article, Magnum Entertainment in the United States has released an uncut, stereo letterboxed version of the film on both videocassette and laserdisc.












"Goblin - Music to Terrorise" - From Audion #25


Creators of many classic horror film soundtracks during the 70's, Goblin were certainly one of the most unique Italian rock groups, and one of the most successful internationally too! Taken in context with the rest of the Italian scene, Goblin were also unusual in that they managed to grow and develop during the late 70's when most other Italian bands were forced to compromise by record companies that were no longer interested in progressive rock. During their 8 year existance Goblin recorded eleven albums, even more soundtracks (many not documented on record), managed to be active on the Italian live scene and they also managed to get some singles into the Italian charts!
ORIGINS

The history of Goblin is extremely complex and not that well documented. I've attempted to demystify this history via a "family tree" and thus make this article easier to follow. The kingpin of Goblin is often quoted as being Claudio Simonetti, a talented and unique keyboard player, his origins were in 60's amateur bands, which eventually lead to the formation of Ritratto Di Dorian Gray (Picture of Dorian Gray), apparently a classical rock trio in the generic Italian style. Unfortunately Ritratto Di Dorian Gray never released an album (although Mellow Records have listed the possible release of archive recordings) although they existed for at least 2 years.

BIRTH OF THE GOBLINS

How Goblin actually got together I can only guess. One story goes that Cinecitta Film Studios were looking for a band to create contemporary scores for films and that the members of Goblin were specifically chosen for this purpose. It would seem that the original Goblin were thus not a proper band originally, but instead a manufactured group! As I said previously, the history of Goblin isn't that well documented, and many of the record covers have no more information than who the composers are. The original group are often quoted as a quartet, all seasoned and talented musicians, and collectively a highly inventive bunch.

The early soundtracks they recorded remain undocumented on record. Their big break was the commission to score Dario Argento's "Profondo Rosso" (aka "Deep Red"). Dario Argento was one of the hottest names on the Italian horror scene, specialising in nasty psychological thrillers and gory shock horror. Many of his earlier films had been scored by Ennio Morricone. But, for this new film, he wanted something different. Really, "Profondo Rosso" was Argento's attempt to out-do "The Exorcist", not only as a horror-shocker (a psycho story starring David Hemmings on the trail of a hatchet swinging killer) but as a powerful experience all round, thus he needed a very powerful score, and Goblin certainly delivered the goods! The resulting LP release (a very short one at under 29 minutes) has all the trademarks of what became known as the Goblin sound: a complex and innovative rock music featuring lots of keyboards (organs, synthesizer, piano, etc.), powerful rhythmic structures involving lyrical bass work and dramatic percussives. A constantly surprising album really, in that every track is different, it ventures from classical rock through to jazz-fusion, and many places in between, including the highly experimental introduction to Wild Session with its weird wailing voices, musical box chimes and generally spooky atmosphere. But, most curious is the track Mad Puppet with its bass-line almost stolen from Mike Oldfield's TUBULAR BELLS. Goblin certainly proved their worth as talented creators of descriptive and evocative music.

ALL CHANGE!

Here the story of Goblin gets even more complicated! So, let me now introduce the band Flea, a quartet who recorded one of the most powerful of Italian rock albums: TOPI O UOMINI that had all the energy of Heavy Metal in a complex and carefully crafted progressive rock. Flea transformed into the short-lived jazz-rock group Etna. After they split, their drummer joined the ranks of Goblin. Meanwhile, the original Goblin drummer Martino had joined the group Libra, a more mainstream rock band who went to seek success in the USA and having the dubious honour of an album on Motown Records! Libra, upon returning to Italy, later recorded a very Goblin styled horror soundtrack for the film "Shock". Another complexity during 1975 was the album by Cherry Five. The music on their eponymous album was composed by Goblin members Claudio Simonetti and Massimo Morante (curiously one track featured is The Picture of Dorian Gray), although the only musicians credited on the cover were Tony Tartarini (vocals) and Carlo Bordini (drums). Many elements of the Goblin sound can be heard in this album (a notable curiosity being the link piece between The Swan Is The Murderer Parts 1 & 2 which features the wailing voice and musical box heard earlier on PROFONDO ROSSO), yet the use of English vocals and classical keyboard arrangements make for a much more British rock sound with hints of ELP, Yes and Gentle Giant. Tony Tartarini went on to front another project: Reale Impero Britannico, which also featured Goblin members as session musicians.

The next incarnation of Goblin, now with two keyboard players, offered a much bigger sound. ROLLER, the second Goblin album, is only one of three that they recorded as a proper studio album (although some tracks were later chosen for use in films) and is thus a more consistant offering, with much more room given to melody and solos rather than shock dramatics. Curiously the Goblin sound had drawn in many more influences, with arrangements blending elements of Camel and Pink Floyd notably in the use of synths and guitars.

TERROR MUSIC

Again a quartet, and back to film music, Goblin went on to create possibly the most important, and definately most radical, of all Goblin albums, the soundtrack to Dario Argento's outrageous tale of terror "Suspiria", a film that tells the tale of a coven of witches at an Austrian dancing academy involving grizzly murders and lots of nasty shock tactics. Excepting a short piano piece on the second side of the LP (which is heard as being performed by a blind pianist in the film), Goblin's soundtrack was summed up by the four tracks on side 1. This was unlike any Goblin heard before, with an overdose of electronics, thunderously percussive riffing and strange abstract phases, all filled to the brim with masses of moaning, growling, shrieking and wailing voices, groaning like tortured lost souls. Snatches of blasphemous text, weird cries and demented voices dominate the highly charged music, offering a fascinating and bizarre experience. Coupled with Argento's visuals, Goblin's music made "Suspiria" one of the most numbingly furious of horror films. Ever full of surprises, of the tracks on the second side of SUSPIRIA only Markos was in the spirit of the film score being a frenzied array of sequencers, drums and Mellotron, and in sharp contrast the following tracks ventured to jazz-rock realms, with hints of Soft Machine, Isotope and Passport, in a highly electronic fusion, with slightly funky rhythms, and on one track saxophone courtesy of Antonio Marangolo.

Further evidence that Goblin were leading a double life came with the album IL FANTASTICO VIAGGIO DEL "BAGAROZZO" MARK, a full blown progressive rock concept album, complete with songs in Italian, and a style much closer to Yes than we'd previously heard from Goblin. Curiously the instrumental tracks heard here are some of the most powerful Goblin had created, with masses of complex keyboards and sequencers, most notably the album's closer: ....E Suono Rock which comes across like a hybrid of instrumental Steve Hackett, ELP and Alphataurus. A brainstormer indeed. Curiously, despite being in Italian, Massimo Morante's vocals remind me somewhat of Omega's James Kobor, and musically there are similarities too!

ZOMBIES AND OTHER HORRORS!

Such was the international success of SUSPIRIA that Goblin were to record at least a dozen soundtracks over the next couple of years. Not all these were documented on record, and some that were proved to be less than extraordinary. Probably the most famous of these was George A. Romero's long overdue sequel to "Night of the Living Dead", the aptly titled "Dawn of the Dead" (or "Zombi" as it was known in Europe) a tale in which the dead come back to life with an insatiable desire to eat the living and the fateful struggle of four people who attempt to survive against the odds, it featured the curious credit 'music by The Goblins with Dario Argento'. Although some of the dramatic themes featured stepped back to the style of early Goblin, it was obvious that another element was at work here, being a far more varied and and playful collection of shorter tracks. It's a shame really that much of Goblin's music is underplayed in the film, yet some tracks fit really well, like a lampoonish country styled number that accompanies scenes where a gang of bikers are picking off zombies! As with SUSPIRIA the album contained much more music than was heard in the film, and in fact (as revealed in the credits of later compilations) some tracks were later used in soundtracks to other films.

Other soundtrack work of this era included: "Amo non Amo" (I love you, I love you not) a love story of course! Goblin's music was only enough to fill one side of an LP, the second side being a compilation of earlier "hits", and curiously the original music here was rather untypical of the Goblin of the era, being a step back to the ROLLER style with a hard-rock edge and a hint of Focus! The least interesting of Goblin soundtracks "Squadra Antigangsters" featured a female vocalist on some tracks and got dangerously close to soul and their alternative soundtrack to the spooky horror film "Patrick", it featured dramatic themes similar to those on ZOMBI as well strangely atmospheric and drunken electronic based pieces unlike any Goblin before. An excellent film, and a strange soundtrack, yet I've no idea how they work together as the version I've seen had a music score by Brian May! Back to scoring home grown Italian horror, the soundtrack to "Contamination" offered a similar type of mixture to ZOMBI with dramatic and atmospheric tracks, alongside many journeys into jazz-rock extensively featuring Carlo Pennisi's McLaughlin-like guitar.

THE EIGHTIES

So much was the Goblin sound in demand that other composers also tried their hand at Goblin-styled horror soundtracks. Although no musician credits are given, I'm almost certain that Fabio Frizzi's score to "Paura Nella Citta Dei Morti Viventi" (aka "City of the Living Dead") features performances by Goblin musicians, the use of dramatic percussives, ghostly keyboards and generally otherworldly feel hold all the Goblin trademarks. A touch more abstract, but also resembling Goblin at times, Walter Rizzati's "Quella Villa Accanto Al Cimetero" is another soundtrack that Goblin fans should track down.

Goblin themselves had split up at this time. Obviously the pressures of scoring so many films had dried their creative energies (it was apparent that later Goblin soundtracks began to recycle the same ideas), Massimo Morante had already embarked on a solo career, and Claudio Simonetti was to follow and became a successful soundtrack composer in his own right.

Not wishing to give up the ghost, Fabio Pignatelli later attempted to create his own version of Goblin, recording the album VOLO with a virtually new band. Excepting a couple of instrumental tracks (later culled for use in soundtracks) little of this album resembled the Goblin of old, sounding much closer to British hard-rock. Although some later soundtrack albums feature original Goblin tracks, I believe them to be earlier unreleased recordings chosen from the Goblin archives, because Goblin no longer existed as such after 1982. The trio of Simonetti, Morante and Pignatelli did collaborate later for the soundtrack to Argento's blood-splattered "Tenebrae", yet the album release wasn't credited to Goblin, nor did it really sound much like Goblin, being highly electronic and actually much closer to the sound of Tangerine Dream's horror scores!

The legacy of Goblin is quite vast and full of surprises, and they've had a great influence on how rock music can be used in film scores. And, as such, Goblin can claim to be not only one of the most important of Italian rock bands, but also creators of some of the finest Italian film soundtracks alongside the redoubtable Ennio Morricone!


- By Alan Freeman








Japanese CD Reviews - From Film Score Monthly #38

Amo Non Amo - Cinevox/SLC SLCS-7151
Patrick - Cinevox/SLC SLCS-7150
Contamination - Cinevox/SLC SLCS-7148
Phenomena - Cinevox/SLC SLCS-7149
Opera - Cinevox/SLC SLCS-7156
An interesting gallery of recent rock-oriented horror film scores from Italy has been recently reissued by Cinevox, from their original 1979-88 LPs, in conjunction with the attractive packaging of Japan's SLC. The music is varied and not always of interest, but the five discs offer a notable look at Goblin's unique style of rock-scoring.

Amo Non Amo (I Love You/I Love You Not, 1979) was not a horror film - and it's the lightest of the scores included in the series, centered around an electric guitar melody - but the score takes up only half the disc. The final four tracks are themes from horror films - the eerie synth tonalities of "Yell," here credited to a TV series called Sette Storie per Non Dormire (7 Tales for Not Being Asleep) but also included in the Patrick score, the low raspy vocalisms of Suspiria, the forceful rock beat of Zombi (Dawn of the Dead) and the high synth patterns of Profundo Rosso - which offer an interesting glimpse at the group's work in horror films.

Patrick is an Australian film scored in that country by Brian May but rescored for Italian release by Goblin (in the manner that many Italian horror films were rescored for AIP's American release by Les Baxter). The music is quieter than Goblin's characteristically loud and rhythmic rock scores - they are here dominated by keyboard and guitar. The main title also features what must certainly be the most chilling instrument of all time - the sound of a dentist's drill. "Snip Snip" is a pretty rock piece for keyboard, guitar, and synth - kind of a jaunty electronic scherzo. "Metamorfosi" comprises some intriguing atmospheres, quietly brooding amidst a loose cluster of bass and electric guitar.

Contamination is primarily synthesized. "Connexion" pairs organ and rock bass under a synth choir and fast, high-end synth notes, but most of the score is derived from a collection of atonal, effectsy, march-like figures. "Withy" is an oppressive, martial cue for burbling synth effects and organ under electric drumset.

The remaining two scores are interesting and varied, but not completely Goblin works. Dario Argento's visceral horror films, Phenomena and Opera - like Contamination, Profundo Rosso and Suspiria - benefit from the use of rock-scoring, the music oddly fitting the style of these films where rock styles usually don't work. With Phenomena, Argento began compiling scores from a variety of sources - including Goblin and former Goblin member Claudio Simonetti, who nicely evocative title theme for Phenomena is scored for a string synth-voice melody over plinking piano and deep, low synth tones. Goblin's "Jennifer" is a hushed keyboard motif with represents the film's heroine. A low bass rhythm and drum-beat gives the motif a stronger edge, while in "The Wind" Goblin's high soprano vocal over low synth creates a chilling mood which is all-too-soon impoverished when it takes on a fast-paced percussionistic synth rock beat. Regrettably, the effective cues such as these are mixed in with raucous heavy metal rock songs which annihilate any attempt at serious film scoring and generate only unwanted decibels.

Goblin is missing from the score to Opera, replaced by the capable keyboards of Bill Wyman and Terry Taylor (whose "Valley" was a notable piece on the Phenomena score). The duo provides the "Opera Theme," a fine rock motif built around successive downstrokes of electric guitar and bass synth to build a neat mood of contemporary apprehension and anxiety. "Black Notes" feature heavily reverbed synth tones echoing against a riff of higher synth and keyboard notes. Roger Eno's "Balance" is a brooding piece for quiet synth tonalities which slightly and effectively sets the listener on edge, while eerie synth patterns occupy his "White Darkness." Brian Eno's contribution, "From the Beginning," is a slow progression of spacey synths. Like Phenomena, the Opera disc is filled out with a mixture of obnoxious heavy metal derailments as well as several operatic excerpts.

While many, if not most, contemporary rock scores are insolently noisy - and an electric rock combo will never replace the emotive capabilities of a symphony orchestra - these scores by Goblin and others are uneven but often quite effective despite their disadvantages. While a single compilation disc of the best cues might have been preferable, these CDs afford a useful glimpse at what Goblin and their ilk have been doing in Italian horror-scoring in the past decade.


- By Randall D. Larson









"Goblin and the Vicious Smashing of Horror's Musical Boundaries" - From Toxic Horror #5


Horror's musical boundaries were viciously smashed by Goblin (Claudio Simonetti, Massimo Morante, Fabio Pignatelli and Agostino Marangolo), Italian rockers who explosively overwhelmed the pictures they scored. They used metal guitars, African chants, jazz fusion, occult choruses, instrumental sound effects and fright tuning to raise the little hairs on your neck. Goblin has worked most successfully with director Dario Argento. Matching sound to sound and picture to sound, Argento and Goblin have teamed up to make films like "Deep Red" and "Suspiria".
Like their namesake, Goblin enjoyed playing evil tuning tricks, belying onscreen violence with peaceful melodies, then instantly accelerating them to bloody percussion for 1974's "Deep Red". This musical rollercoaster starts with a child's lullaby and silhouette stabbing, ending with violins as a knife clatters to a boy's feet. A quietly strumming guitar later scans over demented toys, finally turning to synth organs as a switchblade and darkened eye are revealed.

The lullaby theme resurfaces when a psychic is menaced, distant la-la's pervading as Argento rapidly cuts about her apartment. Then all is silence, until a machete hacks into her with rapid percussion, jazzy pianos and guitars serving as the killer's point-of-view. When the pianist Marcus witnesses the murder, his favored instrument accompanies him into the psychic's apartment, keyboards that are melodic instead of aggressive.

When another victim is stalked, a soprano voice matches her panicked movements, synths turning the weird hum into a distorted wind tunnel as the killer's eye is shown. When it blinks, the lullaby theme is repeated. Wild pianos and guitars instill her dread while fumbling about the house, strings soon pounding in her stab wounds. Bongos then release a torrent of scalding water, stopping when the victim is doused in it. As Marcus finds her body, low piano fusion dominates the soundtrack.

To give a haunted impression of the murderer's house, a jazzy mix of bass strings and electric organs take Marcus through the decaying structure, then stop as he knocks over some masonry. Goblin resumes with a heartbeat and shrill percussion, announcing his discovery of a mystery-solving fresco. While he scrapes off plaster, rhythmic variations give the crude painting lethal urgency.

Argento then switches to the slasher's theme, as a murder-wise professor waits in his studio, music that turns an on-rushing doll into a horrific demon. Then the real killer leaps from the drapes with a gong rush. A guitar incessantly strums. The teacher's bashed across the room. A synth screech plunges a knife into his throat.

Unaware of the slaying, Marcus returns to the house and nearly falls from its second floor. He desperately hangs to the cornice. Goblin lurches into high, prolonged organs, then improvisatory drums and guitars. Synths hysterically screech. Marcus regains his balance, a drum roll counting down his discovery of a molding corpse.

When Argento turned to even nastier horror with 1977's "Suspiria", Goblin hyped their orchestrations and child-like vocals into frenzied audio violence. A harsh lullaby starts the film, interrupted by shrieking violins and choruses of "Witch!" Goblin's crashing rhythms and howls then turn a thunderstorm ride into a trip down the River Styx. Young Suzy is taxied to a dance academy that also serves as a coven.

Spastic drums and chanting ring out. A distraught student runs past Suzy. The music changes to whispers. The woman enters her friend's apartment. Speed guitars immediately take over when a window blows open. Overlapping vocals and strings generate terror when all she's doing is standing about. A hand smashes her face into the glass. Dozens of themes and instruments go off, mirroring her struggle and pain. Synths rapidly drown the victim's screaming, becoming unbearably shrill as she's forced to the roof. Drums beat relentlessly while her heart is stabbed, the electronics squealing off as her body plummets down, echoing synth vocals revealing that the debris has impaled her friend below.

For all of "Suspiria"'s stylized shocks, it's Goblin's over-the-top music that gives the film real terror, successively flooding each scene. It's ugly enough when maggots crawl over spoiled meat, but it's crashing cymbals and tubular bells that sink in our nausea. When Suzy tries to ignore the weird snoring in her makeshift dormitory, Goblin accentuates her fear with coven voices and rock guitars, finally bursting with an unholy chorus as Argento zooms into the twisted shape behind her.

Goblin often serves as the coven's eyes, intruding into placid moments, most notably as the suspicious Suzy relaxes in the Academy's pool. This sly tuning can instantly change to outright terror: a blind man and his dog venture into a deserted plaza. A tinkerbell lullaby clings to their footsteps, becoming rapid harpsicord synths and drumbeats as they're dwarfed by the structure. When he screams "Who's there!" the music answers "Witch!" A stone gargoyle seems to fly over their heads. The howls and drum reverb grows stronger. He waits for an answer. The howls lower as the animal rips out his throat. Most murder scenes steadily pick up their themes, but "Suspiria"'s score usually goes at full blast. Only Argento, a filmmaker totally in control of his work, would dare to pump the volume without having his ghastly images choked off with music. On its scarce Attic pressing, Goblin's tunes become a demonic rock opera.

Goblin was next lend to George Romero for "Dawn of the Dead" (1979). For this, they toned down their music for a rhythmically pleasing score. Though only executive producing the film, Argento is listed as a score contributor, which might account for the uneasy mix between Goblin's electronics and orchestration straight out of a '40's horror film. But the diverse styles often work: country-western plays over a redneck zombie hunt. Muzak accompanies the undead as they try to comprehend a shopping mall.

The group's variations are most effective in the TV studio opening. Steady beats, strings, and electric harpsichords blend for a growing sense of panic. When the National Guardsmen discover zombies gorging themselves on human flesh, agonized groans and synthesizers relentlessly pound. The creatures are blown away. Goblin makes these grisly situations effective by staying in the background, as when helicopter synths drone as survivors are attacked at an airport.

The Guardsmen race through a zombie-controlled mall. Goblin employs tight strings and bells. These change to shrill synths and rapid drums as the undead get menacingly close. Then salsa rhythms unexpectedly hit the soundtrack. The humans race for a store. Orchestral shrieks are heard as a corpse leaps for them. When they plunder a score, Goblin comes in with African drums and chants, beating with the survivors' primal delight. When the humans loot the mall, ragtime jazz fills the score. More than complimenting horrific images, Goblin has designed their music for the character's wildly swinging emotions.

Linking most of Goblin's cues are harpsichord synths and a military beat, which flares while humans seal the mall up. Jazz-rock fusion depicts their elation when a helicopter flies overhead, the undead smashed into the Mac trucks below. Bongos and electric vocals are later used when the bikers invade the mall, dissolving to screwball organs as the zombies are pie-faced and robbed. When the invaders are picked off by the space's new owners, the harpsichord theme grows in strength as the consumerist haven is turned into a war zone. And when one of the humans is zombi-fied, the soundtrack becomes an echo chamber to suit his cannibalistic perceptions.

Though Goblin's horror scores would include "Buried Alive", "Wampir", and "Patrick"'s European version, "Dawn of the Dead" is the group's best attempt at eclectic styles. Available on Varese, Goblin's score is an eerie wall of sound, changing from piano jazz to ethnic and rock melodies, while still keeping a fearsome synth wail. Even with the group's breakup, its members have continued these experimentations at merging cold synths and orchestration on such Argento projects as "Tenebrae", "Creepers", and "Opera". Like Bernard Herrmann and John Carpenter, they've realized that any director can spring a demon on their audience, but it takes a memorable horror score to make them really jump out of the theatre seats.


- By Daniel Schweiger