Not thought to be the soundtracks to any horror movie. Roller, along with Bagarozzo Mark are the two Goblin's classic albums famous because were Themselves loose to do one thing they know best - create sonic tension, particularlyĭuring the final section, with those hyper-dissonant synth flows and that sinister bassįilling the spaces craftily left empty by the drummer.
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Goblin certainly knows how to keep things varied while maintaining aĬohesive signature sound.
Piano chords with his delicate acoustic guitar lines and Guarini providing some clarinet Simonetti's grand piano assumes the leading role, with Morante keeping track of the Takes things to a more upbeat level the eerie 'Il Risveglio del Serpente', where Between these two numbers, there are: the somber 'Aquaman', mysteriousĪs a journey to the dark bottoms of the sea the blatantly funky 'Snip-Snap', which In a kaleidoscope of energy and sheer class. Regular Italian symphonic prog (BMS, Le Orme) with lots of Canterbury colors displayed In the album: titled as the band itself, it mixes the special splendorous magic of your But is track 5 the most outstanding piece To keep and conquer the listener's attention. Gets boring through the reiterations, since the sense of exquisiteness prevails in order Theįirst example is the opening title track, which turns out to be effective and catchy, yetĬomplex enough to be of genuine progressive interest: the recurring main motif never
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Usually full of subtleties which elegantly hide the real complexity that lies beneath.
Skill is subjected to the concise demands of the written material. Harmonizing portrayed by some guitar, organ and synth parts, there is not a case ofĮxhaustive pyrotechnics and intensive exhibitionism (as compared to Balletto's "Ys", forĮxample) in "Roller", but a true, compact sense of ensemble. In fact, beyond the occasional soloing and prominent Textures and ambiences, I mean that there is no frenzy dueling nor extreme pomposity Situations: that they do in most numbers of this album's repertoire.
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Though this repertoire was not conceived as a sonic background for horror movie Very good opportunity to continue working on dark textures and ambiences, even With the entry of extra keyboardsman Maurizio Guarini, there was a Showed Goblin's ability to create varied music and perform it with both versatility and aĬlean technique. Released when the success of their OST toĪrgento's movie "Profondo Rosso" hadn't waned yet, "Roller" (a non-OST album) I am aware that this Goblin album is generally pretty much acclaimed in many prog e. Frankenstein" is the album's only real weak spot, since a lot of the music tends to meander.Īside from that, a wonderful classic album, and it's really to bad that the only people who don't think too kindly of this album were the members of GOBLIN themselves. "Goblin" is the lengthiest piece at 11 minutes is the album's real high-point, really allowing the band to stretch out, with some somewhat spacy passages, to more funky passages, great themes and great playing all around. "The Serpent Awakes" (at least that's the title on the Canadian Attic label LP) is mainly a live piano-dominated piece. This song isn't too far off with what IL VOLO did on "Essere o Non Essere"? or the Austrian band EELA CRAIG did on "One Niter", combining a blaxploitation funk sound with the prog sound of the time. "Snip Snap" is a funky piece, dominated by clavinet, with some great use of fretless bass. "Aquaman" is a nice atmospheric piece dominated by the electric piano, then there's a PINK FLOYD-like section with Hammond organ. The album opens up with "Roller", a song circling around some slap-bass, some OLDFIELD-like keyboards, and this big pipe organ. Without the need of worry about a film, the music tends to be a bit longer than what they usually do. With "Roller" GOBLIN can prove that they can float all by themselves without a gruesome Dario Argento flick to back them up. The album did have good stuff, of course, lots of reminding me of PINK FLOYD playing Mike OLDFIELD's "Tubular Bells" or John Carpenter's musical works from the movie "Halloween", and they even stole the same wind sounds and music box from the CHERRY FIVE album (no surprise, really, as CHERRY FIVE Five was basically GOBLIN with a vocalist and a different drummer, even though their music was more traditional YES/ELP-influenced prog). To me, I wasn't all that big on "Profondo Rosso", it sounded like they really hadn't got their sound developed, and a couple of songs don't even sounds like GOBLIN at all (there was an orchestral and more traditional jazz piece tagged at the end). Second album by these notorious Italian proggers, and one of their rare non-soundtrack albums.
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