New CD packaging with slipcase and 4 playing cards with caricatures of the original musicians (Pignatelli, Morante, Guarini and Marangolo), plus a bonus track recorded live in Austin, U.S.A.
The new incarnation of the Goblin, formed around historical members Massimo Morante, Fabio Pignatelli, Agostino Marangolo, Maurizio Guarini, realises the new album entitled Four of a Kind, which marks the comeback of the Goblin 11 years after the previous “Back to the Goblin.”.
Undisputed masters of a dark prog-veined horror, the Goblin have indelibly linked their name to that of director Dario Argento with the creation of memorable soundtracks: “Profondo Rosso”, “Suspiria”, “Zombi” and “Non Ho Sonno” are become over the years and the various pillars of its kind, although flowing their discography are of no less interest some soundtracks minors and albums as “Roller” and “Il Fantastico Viaggio del Bagarozzo Mark” released by the cinematic context.
The eight new compositions of Four of a Kind appear as the natural continuation of Back to the Goblin. While maintaining the mood of the plots typical of the band, inevitably linked to voice-overs for the world of celluloid, the musical proposal appears decidedly original and non-repetitive, also by virtue of an excellent technique expressed the quartet in the field. Uneven Times is characterized by a complex score marked by a succession of skilful tempo changes that result in an intense ending dominated by the notes of the sax of Antonio Marangolo brother Agostino, present in the guise of a special guest. In the Name of Goblin, hidden in its title a kind of self celebration of the group: the haunting arpeggio Morante and glazes sharp organ of Guarini trace the footprint typical of their most famous composition, a pattern that well recalls the evocative atmosphere of the individual who in 1975 topped the sales charts.
Kingdom reveals the episode most compelling and representative of Four of a kind: five minutes within which sequences floor and gothic organ interludes are nestled in the majesty of the Goblin bass lines issued by Pignatelli. And if in the next Dark Blue(s) is Morante to do the lion’s leading a dance slow-blues with his fond instrument, in Love & Hate Guarini makes use of hammond and harpsichord to enrich the ‘golden expanse and reassuring the reason, while 008, a tight rock in which the timing dictated by the rhythm section Pignatelli-Marangolo take the hand of a sustained and repeated guitar riff.
