Goblin is arguably the most recognized name behind horror scores. The Italian progressive rock band’s work on such films as Suspiria and Dawn of the Dead has been deservedly lauded for decades, each soundtrack attaining a cult following with fans rabidly defending their choice over others. Regardless of which album you enjoy the most, it’s easy to admit that they’re all fantastic, exuding atmosphere and dread with each note.

While the band has split long ago, several of the members remained in contact with certain others so as to continue their musical journeys together. Enter Goblin Rebirth, which features Agostino Marangolo and Fabio Pignatelli, the original drummer and bassist of the group respectively, who just this week released their self-titled debut album.

When you have the original rhythm section from the original group, the question of whether or not it’s still going to sound like a horror score arises. Does Goblin Rebirth continue the band’s tradition and legacy that us horror fans so lovingly revere?

To answer that question, you have to understand that while the horror crowd may love the band for their contributions to our genre, that’s not where they started. Remember that Goblin and all the members were all originally associated with the progressive rock genre, influenced by bands such as Genesis, King Crimson, and similar. Yes, the vast majority of their work is comprised of soundtracks but all of those scores were built upon the foundation of prog rock.

So when I listened to Goblin Rebirth, I put aside my hope for horror and instead opened my mind and ears to whatever was going to be presented. However, while I decided that I wasn’t going to look for horror with this album, horror definitely came looking for me.

The album opens with “Requiem For X”, which opens up sounding like a missing track from The Exorcist soundtrack. Bells and xylophones hauntingly ring out while sinister synths swell in and out, dissonant notes flitting about like little ghosts. The song builds, adding textures and instruments to create something foreboding and dark but ultimately still very groovy, even rising into a full blown guitar solo. It sets the tone for the album, which is that we will hear a gorgeous and delightful variety of instruments and tones, all used deftly, weaving in and out of off-kilter time signatures.

The next track, “Back In 74” is an absolute delight of a song. The fast-paced groovy bassline is topped with a shimmering King Crimson-esque guitar melody that transforms into a super funky riff with elements of jazz fusion. No matter how many times I listened to the song, I couldn’t help but tap my toes and nod my head.

There is no shortage of horror influences throughout the album, such as tracks like “Mysterium”, which features a malevolent choir chanting evilly, or “Evil In The Machine” and its robotic vocals. But there are also moments of stunning beauty, such as the David Gilmour-esque guitar solo in “Forest” or the exotic “Dark Bolero” and the majestic ways that the instruments “speak” to each other.

The album has this delightful warm sounding production, as though it came straight from the 70’s or 80’s. And yet it embraces the modern, each sound crisply present.

Almost entirely instrumental, Goblin Rebirth is one of those albums that you put on and allow it to take you on a journey. Each time you listen to it, I guarantee you that you’ll hear something new, some neat little sound or melody that previously passed by because there’s just so much musical cleverness going on.

The Final Word: Goblin Rebirth is an album that is meant for horror fans while also never sacrificing the love and origins of progressive rock. In the world of horror the sight of the dead coming back to life is so mainstream that it’s become mundane and expected. Goblin Rebirth‘s return from the grave is that breath of fresh decaying, rotten air that we so richly deserve.