Biography
Goblin stands out among Italian progressive rock acts not only for their nationality but also for their distinctive trajectory, which centered on composing scores for numerous horror films, frequently in partnership with director Dario Argento. Their international profile rests chiefly on the music for the Night of the Living Dead sequel Dawn of the Dead, released under the name the Goblins, although the scores for Profondo Rosso (also known as Deep Red) and Suspiria have earned greater critical esteem.
The ensemble came together in 1972, drawing members from earlier Italian prog outfits: keyboardist and leader Claudio Simonetti along with founding drummer Walter Martino had performed in Ritratto di Dorian Gray, guitarist and intermittent singer Massimo Morante belonged to Era di Acquario, and bassist Fabio Pignatelli had played with Rivelazioni. Adding vocalist Tony Tartarini, they first operated as the Cherry Five and delivered British-inflected progressive rock reminiscent of Yes, Genesis, and ELP. Signing to the Cinevox imprint, they put out a self-titled debut album in 1975 that met with limited commercial response.
That recording nevertheless attracted the attention of Dario Argento, who reached out to Cinevox after growing dissatisfied with Giorgio Gaslini’s jazz-oriented contributions to Profondo Rosso. The Cherry Five renamed themselves Goblin to suit the horror context, retained a fragment of Gaslini’s material, and reworked the rest into a denser, more aggressive rock style. The revised score contributed to the film’s success, while the accompanying soundtrack album reached the top of the Italian charts. As the musicians prepared a tour to build on this breakthrough, Martino and Tartarini exited, with the former launching his own project, Libra; Agostino Marangolo, previously of Flea and Etna, took over on drums.
Their follow-up, the non-soundtrack effort Roller issued in 1976, incorporated a second keyboardist, Maurizio Guarini, and leaned toward conventional prog textures. Disappointed with both the record and Cinevox’s marketing, the band nearly dissolved until Argento intervened and commissioned another score, this time shooting the film after the music was already complete. The resulting 1977 Suspiria fused the group’s intense riffs and intricate drumming with heightened electronic textures and unsettling vocal manipulations, becoming their most celebrated work; both the movie and album achieved strong sales and cemented the Goblin-Argento alliance. Over the next two years the quartet supplied music for more than a dozen films and, riding that momentum, recorded the 1978 concept album Il Fantastico Viaggio del Bagarozzo Mark, a traditional prog outing recounting a boy’s existential quest aided by a philosophical insect; unusually, its lyrics appeared in Italian.
Among later endeavors, the 1978 Dawn of the Dead soundtrack (Zombi in Italy), co-produced by George Romero and Argento, proved especially consequential. One of their heavier, guitar-driven releases, it appeared in two editions: Argento’s full Italian cut and the Romero/American version that trimmed the band’s cues in favor of orchestral stock music. The film and album enjoyed worldwide commercial success. Shortly afterward guitarist Morante departed for a solo path. The remaining trio briefly continued before recruiting Marangolo’s ex-bandmate Carlo Pennisi on guitar. Additional scores followed until Simonetti, the primary architect of their sonic identity, left to pursue soundtrack work independently. Pignatelli assumed leadership, yet without its two central figures the group struggled to secure assignments. Session player Guarini rejoined, but by the time Volo emerged in 1982 both Pennisi and Marangolo had also exited.
Argento sought to reassemble the original lineup for 1982’s Tenebre, though Marangolo declined; the participation of Morante, Simonetti, and Pignatelli rendered the largely electronic score a Goblin album in everything but official designation, after which the three parted ways. Pignatelli, Guarini, and Marangolo’s saxophonist brother Antonio sustained Goblin into 1983 before the project quietly ceased.
Following a 22-year break, the musicians reconvened in 2000 to score Argento’s Nonhosonno (Sleepless). An independent album, Back to the Goblin, appeared in 2005, yet live performances resumed only in 2009 when the members, performing as Back to the Goblin, shared stages at festivals for the first time in three decades; by year’s end they again disbanded. Sporadic regroupings under varying lineups occurred over subsequent years, eventually fragmenting into separate factions. In 2015 Agostino Marangolo, Fabio Pignatelli, Aidan Zammit, Danilo Cherni, and Giacomo Anselmi, recording as Goblin Rebirth, signed with Relapse Records and released a self-titled album of fresh material. Concurrently, a configuration anchored by Pignatelli, Marangolo, Morante, and Guarini toured the United States in 2014 and 2017, issued the studio album Four of a Kind in 2015, and documented a concert with Live in Austin, Texas in 2018. The reissue label Two Headed Dog also restored Volo to circulation in 2017. Guitarist Massimo Morante passed away on June 23, 2022, at age 70.
The ensemble came together in 1972, drawing members from earlier Italian prog outfits: keyboardist and leader Claudio Simonetti along with founding drummer Walter Martino had performed in Ritratto di Dorian Gray, guitarist and intermittent singer Massimo Morante belonged to Era di Acquario, and bassist Fabio Pignatelli had played with Rivelazioni. Adding vocalist Tony Tartarini, they first operated as the Cherry Five and delivered British-inflected progressive rock reminiscent of Yes, Genesis, and ELP. Signing to the Cinevox imprint, they put out a self-titled debut album in 1975 that met with limited commercial response.
That recording nevertheless attracted the attention of Dario Argento, who reached out to Cinevox after growing dissatisfied with Giorgio Gaslini’s jazz-oriented contributions to Profondo Rosso. The Cherry Five renamed themselves Goblin to suit the horror context, retained a fragment of Gaslini’s material, and reworked the rest into a denser, more aggressive rock style. The revised score contributed to the film’s success, while the accompanying soundtrack album reached the top of the Italian charts. As the musicians prepared a tour to build on this breakthrough, Martino and Tartarini exited, with the former launching his own project, Libra; Agostino Marangolo, previously of Flea and Etna, took over on drums.
Their follow-up, the non-soundtrack effort Roller issued in 1976, incorporated a second keyboardist, Maurizio Guarini, and leaned toward conventional prog textures. Disappointed with both the record and Cinevox’s marketing, the band nearly dissolved until Argento intervened and commissioned another score, this time shooting the film after the music was already complete. The resulting 1977 Suspiria fused the group’s intense riffs and intricate drumming with heightened electronic textures and unsettling vocal manipulations, becoming their most celebrated work; both the movie and album achieved strong sales and cemented the Goblin-Argento alliance. Over the next two years the quartet supplied music for more than a dozen films and, riding that momentum, recorded the 1978 concept album Il Fantastico Viaggio del Bagarozzo Mark, a traditional prog outing recounting a boy’s existential quest aided by a philosophical insect; unusually, its lyrics appeared in Italian.
Among later endeavors, the 1978 Dawn of the Dead soundtrack (Zombi in Italy), co-produced by George Romero and Argento, proved especially consequential. One of their heavier, guitar-driven releases, it appeared in two editions: Argento’s full Italian cut and the Romero/American version that trimmed the band’s cues in favor of orchestral stock music. The film and album enjoyed worldwide commercial success. Shortly afterward guitarist Morante departed for a solo path. The remaining trio briefly continued before recruiting Marangolo’s ex-bandmate Carlo Pennisi on guitar. Additional scores followed until Simonetti, the primary architect of their sonic identity, left to pursue soundtrack work independently. Pignatelli assumed leadership, yet without its two central figures the group struggled to secure assignments. Session player Guarini rejoined, but by the time Volo emerged in 1982 both Pennisi and Marangolo had also exited.
Argento sought to reassemble the original lineup for 1982’s Tenebre, though Marangolo declined; the participation of Morante, Simonetti, and Pignatelli rendered the largely electronic score a Goblin album in everything but official designation, after which the three parted ways. Pignatelli, Guarini, and Marangolo’s saxophonist brother Antonio sustained Goblin into 1983 before the project quietly ceased.
Following a 22-year break, the musicians reconvened in 2000 to score Argento’s Nonhosonno (Sleepless). An independent album, Back to the Goblin, appeared in 2005, yet live performances resumed only in 2009 when the members, performing as Back to the Goblin, shared stages at festivals for the first time in three decades; by year’s end they again disbanded. Sporadic regroupings under varying lineups occurred over subsequent years, eventually fragmenting into separate factions. In 2015 Agostino Marangolo, Fabio Pignatelli, Aidan Zammit, Danilo Cherni, and Giacomo Anselmi, recording as Goblin Rebirth, signed with Relapse Records and released a self-titled album of fresh material. Concurrently, a configuration anchored by Pignatelli, Marangolo, Morante, and Guarini toured the United States in 2014 and 2017, issued the studio album Four of a Kind in 2015, and documented a concert with Live in Austin, Texas in 2018. The reissue label Two Headed Dog also restored Volo to circulation in 2017. Guitarist Massimo Morante passed away on June 23, 2022, at age 70.
Albums
Don't Come Back Again
2025
Om de alright
2022
Fearless (37513 Zombie Ave)
2018
Austinato - Live in Austin, Texas
2016
Four of a Kind
2015
Beyond the Darkness
2014
Back To the Goblin
2006
Singles
