Goblin

Michael Baryshnikov написал(а) к All в Oct 15 11:47:00 по местному времени:


Нello, All!

Залит Goblin\(2015)GoblinRebirth

Сегодня, похоже, день страшилок. Вот и Гоблин "те итальянцы, которые пишут
музыку к фильмам ужасов", внезапно восстал из мёртвых. Вот уж действительно - возрождение, так возрождение. Мощный, красивейший диск в старых добрых традициях, как-будто группа никогда и не умирала.
ВЕСЬМА ВЕСЬМА РЕКОМЕНДУЮ!

Инджой!

Rest begards...oh, sorry, best regards, Michael

... We talk about creation, but all we do is kill...
--- (c)2015 Isaak GoldED+/EMX, send $1.1.5-30407 for original master text.

Michael Baryshnikov написал(а) к All в Apr 17 18:48:57 по местному времени:

Нello All!

Залит Goblin/(2015)Four_Of_AKind

Ещё один диск вновьсобранного Гоблина, на этот раз на нём присутствуют четверо из оригинального состава, что собственно и обусловило название диска.
Хороший Гоблин, эдакая "классическая" музыка из фильма, как в старые добрые времена.
Рекомендую весьма!

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Four Of A Kind
Goblin
Rock Progressivo Italiano, 2015
(c) Review by tszirmay, PA

Goblin surprised the Prog world by releasing 2 albums in 2015, Goblin Rebirth being an off-shoot band that kept the magnificent rhythmic tandem of Fabio Pignatelli and Agostino Marangolo together while infusing 3 talented players, creating a memorable self-titled album that I anointed with the highest praise. On 'Four of a Kind', the two are joined by initial members Massimo Morante on guitars and keyboardist Maurizio Guarini. Only Claudio Simonetti is missing but he has his own version of Goblin. For a bass fiend like me, an instrumental album that puts Pignatelli's instrument up front and center can only be another blissful pleasure. Since there are no vocals, I sort of see this 43 minute musical gnome as a one multi-part suite.

The usual Goblin characteristic is omnipresent throughout the 10 tracks, a dark, brooding, at times menacing atmosphere that permeates the arrangements, steered by that carving Rickenbacker bass, thankfully pushed forward in the mix, ably supported by Marangolo's decidedly Bonham-ian approach to percussive beats. Lather on top some profuse synthesizer weavings, shrill Нammond organ flashes and occasional piano eloquence. Finally the electric guitar frills add tension and sizzle to the bombastic expanse. The 7 minute+ 'Uneven Times' possesses all those characteristics, only including a brief sax venture from Marangolo's presumed relative, Antonio. The synth- heavy 'In the Name of Goblin' proposes troubling musical shifts and obscure patterns, kept in line by the Pignatelli 4 string magic. Morante constructs some complex axe phrasings that scratches the surface of some epidermal fear of the unknown, a classic Goblin trait. It starts out fairly homogenous, armed with a classic guitar melody before veering into a murky cemetery-like dirge middle section that reverts back to the beginning. The clavicembalo (a mythical RPI instrument) that is nothing more than a harpsichord, makes a brief intro on' Mousse Roll' before vaulting into a beefy leviathan of sound and fury, relentlessly pummeled by both the feisty bass and the cruel drumming, assisted by acoustic and electric guitar incursions. 'Bon Ton' keeps the rhythmic assault forceful, a very binary onslaught with zealous distortions and lightning blitzes that suddenly evolves into a complicated but surreal atmosphere where only the bass seems to be on target while the others float around in some semi-state, before resuming the bombast with even more aplomb. Morante makes his fret board scream and rage, it's a beautiful feeling as the choir mellotron howls in the background. The exit is phenomenally suave. 'Kingdom' flutters at first, elegant piano and orchestral gravity set the tone, a solo guitar serenade in the high notes introduces a more avid piano melody that is boosted by more choir mellotron, synths twinkling mechanically in the back ground. 'Dark Blue(s)', as the title may imply, is a bluesy affair, highly surprising under the circumstances but Goblin pull it off rather brilliantly, Morante showing decades of experience and chops on the guitar and he simply shines. Part Roy Buchanan, part Gary Moore, he bears his soul on the fret board, knowing the three others are right behind him, the genial background choir doing immense positive damage to the arrangement. Almost a Gothic religious feel to it that ends with a heartbeat. Amazing! 'Love & Нate' is back to the classic infernal dichotomy between two extremes, starting off all bothered and sweaty before slipping into radiant sweetness, the synths and piano in maximum lullaby overdrive. Achingly gorgeous, divine in spirit and expertly delivered by mature, talented musicians. You guessed it, on a dime, it reverts to almost Crimsonian bluster, angry Wetton-like bass blasting feverishly and slashing guitar scimitars doing serious damage. '008' is perhaps dedicated to James Bond's next agent in the line of fire, a rambling Нammond-fueled soundtrack for a raging Aston Martin barreling down the autostrada, a Beretta popping off synthesized bullets and some suave bambina looking back at you with a furtive glance. Sexy, sizzling and suave finale to a thrilling album that can easily offer future pleasures to the discriminating fan. Just listening to the bass and drums has more than enough interest for the audiophile

Can we please have some more music like this, per favore?
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Инджой!
WBR, Michael Baryshnikov.

--- wfido