Creating the Notes of Horror with Goblin

One of the most important groups in horror cinema is Goblin, the Italian progressive rock band that earned fame among genre fans for scoring Dario Argento's films. The group, led by Claudio Simonetti, will soon visit Mexico, which is why we're sharing this interview conducted by Mario Valencia, originally published on the site Pólvora (abre en nueva pestaña), whom we thank for the opportunity to reprint it on our site.

Creating the Notes of Horror with Goblin By: Mario Valencia for Polvora Rock

While England grabbed the spotlight for progressive rock's popularity during the '70s, bands in Italy were building an impressive cult following. One of the most representative was Goblin, who earned great fame by lending their talent to score great classics of giallo cinema: the world of Italian horror.

To look back on that era, we spoke with their current leader, keyboardist Claudio Simonetti, who told us about his most treasured work and the importance of music in these films.

Have you had the chance to hear Thom Yorke's score for Suspiria? What did you think of it?

"I saw the Suspiria remake. I think the film is too long and very far from Argento's original — especially the ending, which I found completely disconnected from the plot — and it felt shot a bit like a '70s B-movie, with very grotesque costumes and effects. The music didn't help much either: Thom Yorke is a good musician, but this time he didn't know how to help a film that badly needed it because of its dark atmosphere. If he'd used our music, the film would surely have won us over a little more."

In Lamberto Bava's Demoni, there are a lot of heavy songs in the film. How was it for you to bring your original pieces together with such fast-paced songs?

"In the '80s, it was very fashionable to put famous songs in horror films alongside the original score. In the case of Dèmoni, the songs weren't part of the soundtrack, just background music, so I didn't adapt to those songs — I kept to my own style, though very much in line with the electronic music of the time."

You were an important part of giallo cinema, composing for several films. Which are your favorites, and who is your favorite director (besides Argento) to work with?

"My favorite music is without a doubt Profondo Rosso, Suspiria, Phenomena, and Dawn of the Dead. That said, even for films that weren't very successful, I'm fond of the music I made for Mother of Tears, Dracula, and the two Masters of Horror episodes, 'Jenifer' and 'Pelts.'"

In 2007, Mother of Tears closed out Argento's Three Mothers trilogy. What was it like for you to arrange the music for this installment 30 years after Suspiria, without having composed for Inferno? Speaking of Inferno, what do you think of the music Keith Emerson composed for that film?

"On Mother of Tears I tried to follow a symphonic style rather than a rock one — I used a large orchestra and a big choir, the way Keith Emerson did on Inferno. I thought Dario's new film needed more music like that instead of the usual prog-rock sound. I think the music for Inferno is very beautiful; besides, being a great admirer of Emerson, the keyboardist who has always inspired me, I could only like it."

On several occasions you've mentioned Psycho and Halloween as your favorite scores. But these days, what's the most recent score you'd consider, if not on their level, at least one of the best?

"Lately, despite the many genre films that have come out, I haven't noticed any particular music that has moved me the way Bernard Herman and John Carpenter once did — nowadays producers and directors focus more on special effects than on the script and the music. Still, I believe that creating something new today is genuinely very difficult."

Finally, what are the main aspects of creating a horror soundtrack, and what's your process?

"When I write a soundtrack, I first watch the film and talk with the director to hear his ideas, and then I start working on the images. The hardest moment is when you begin composing the music. Finding the right style and sounds to use is the main and most complicated part for me; but once you get going and find the right style, the rest of the journey is easier."

https://www.youtube.com/watch?v=9kO9xreQD1M (abre en nueva pestaña)

You can see the original publication at the following link: https://polvora.com.mx/2020/02/13/creando-las-notas-del-horror-con-goblin/

Photo of Goblin taken from their official site: https://www.goblinsimonetti.com/