Goblin

Goblin樂團是一個專門為意大利恐怖片配樂的樂團，樂團活躍于60年代到80年代，也可是說是當時整個意大利恐怖片導演心目中最不可或缺的組成部分。Mario Bava、Dario Argento、Joe D'Amato等人的片中都留有他們的痕跡，盡管此類片不是市場主流，我們的了解也甚少，但這絲毫不能影響Goblin樂團在整個配樂史中的地位。受當時藝術(shù)浪潮的影響，Goblin的風格偏向藝術(shù)搖滾類，真實樂器同合成器的搭配游刃有余，但也不乏有Dark wave的元素，這也是為了符合恐怖片的氛圍而水到渠成的事情，盡管當時的Dark Wawe連萌芽都算不上，但從Goblin的音樂中卻能真真切切體會出這種不符合年代的水準。
by Steve Huey
The fact that Goblin was an Italian progressive rock band already makes them somewhat unique, but they also pursued an intriguingly unorthodox career path, recording the majority of their music for horror film soundtracks, many with director Dario Argento. Internationally, theyre probably best-known for their work on the Night of the Living Dead sequel, Dawn of the Dead (where they were credited as the Goblins), though their work on Profondo Rosso (aka Deep Red) and Suspiria is generally more acclaimed.
Formed in 1972, Goblins roots lie in several other Italian prog-rock bands of the time. Keyboardist and bandleader Claudio Simonetti and original drummer Walter Martino both played in Ritratto Di Dorian Gray; guitarist and sometime vocalist Massimo Morante was part of Era di Acquario; and bassist Fabio Pignatelli had been in Rivelazioni. With vocalist Tony Tartarini, the group initially dubbed itself the Cherry Five and played British-style progressive rock in the vein of Yes, Genesis, and ELP. They signed with the Italian Cinevox label, and issued a self-titled debut in 1975, which performed disappointingly. However, it caught the ear of film director Dario Argento, who contacted Cinevox after growing dissatisfied with the jazzy work being done on his Profondo Rosso by composer Giorgio Gaslini. The Cherry Five rechristened themselves Goblin (in keeping with the horror movie theme), kept a small portion of Gaslinis work, and completely redid the remainder of the score in a heavier, harder-rocking style. The results helped make the film a hit, and the soundtrack album topped the Italian charts. Just as the group was about to begin a supporting tour to consolidate their unexpected success, Martino and Tartarini departed, the former to start his own band (Libra); he was replaced by Agostino Marangolo, who had previously drummed in Flea and Etna.
The quartets next project was a non-soundtrack album, titled Roller, released in 1976 featuring a more traditional prog-rock sound, as well as second keyboardist Maurizio Guarini. The group, however, was unhappy with both the results and the labels promotional efforts, and nearly disbanded. Intervention by Argento smoothed things over, and he put Goblin to work creating a new soundtrack; this time, he shot the film only after hearing the music. The result, 1977s Suspiria, became Goblins most acclaimed work, combining the bands heavy riffing and busy drum work with more eerie electronics than ever before, plus sinister, experimental vocal effects. The film and soundtrack were both hits once again, and the Goblin/Argento partnership was firmly established. The band worked on over a dozen film soundtracks over the next two years, and in 1978 used that momentum to record a non-soundtrack concept album in the archetypal prog-rock vein. Titled Il Fantastico Viaggio del Bagarozzo Mark, it told the story of a young boy searching for meaning in life with the help of a philosophical insect named Mark; it also broke with the Goblin norm by featuring lyrics sung in Italian.
Of Goblins subsequent projects, the most significant was undeniably their work on 1978s Dawn of the Dead (known as Zombi in Italy), the sequel to Night of the Living Dead, co-produced by George Romero and Dario Argento. One of their heavier, more rock-oriented works, the soundtrack appeared in two different versions: one as the complete Italian version used by Argento, and the other as the Romero/American version, which cut down the bands contributions to include stock orchestral music. Regardless, the film and soundtrack were both worldwide successes. In spite of all that, guitarist Morante abruptly left the group for a solo career. Goblin continued as a three-piece for a short time, then added Marangolos former bandmate, Carlos Pennisi, on guitar. Several more scores followed before keyboardist Simonetti, the driving force behind the bands sound, also departed to become a soundtrack composer in his own right. Bassist Pignatelli took over leadership of the group, but without its two most prominent members, work was suddenly hard to come by. Session keyboardist Maurizio Guarini returned to the fold, but by the time Goblin managed a new studio album, 1982s Volo, both Pennisi and Marangolo had jumped ship as well. Dario Argento attempted to reconvene the original group for the soundtrack of 1982s Tenebre, but Marangolo declined to take part; the presence of Morante, Simonetti, and Pignatelli made the largely electronic Tenebre a Goblin album in all but name (since Pignatelli was leading the official band), and the three went their separate ways afterwards. Pignatelli, Guarini, and Marangolos saxophonist brother Antonio continued Goblin into 1983, upon which point the group simply faded away. The Goblin name was occasionally resurrected for an attractive project during the rest of the 80s, and rumors of a full-fledged reunion surfaced in the late 90s.