Soundtrack Masters of the Italian Horror Film

Soundtrack Masters of the Italian Horror Film

The 1960s and 1970s witnessed the rise of Italian horror cinema, a genre celebrated for its graphic violence, surreal visuals, and unforgettable soundtracks. Those soundtracks are the main attraction for a certain kind of horror movie fan, and if you fit that description, welcome--we have cake.

These scores can be disturbing and innovative--sometimes more unique than the movies themselves. Morricone's sounds of dread and unease, the oddly wistful Riz Ortolani's work on Cannibal Holocaust, and the creeping dread of a Bruno Nicolai soundtrack are thankfully commited to vinyl as well as film.

It's interesting to contemplate these artists in today's digital world.

All of the composers below used analog tape, traditional instruments, and classically trained performers in some cases...but the results they got were as unique and original as anything made without the constraints of physical media and a comparatively narrow list of instruments.

Ennio Morricone: Maestro of the Morbid

Ennio Morricone, renowned for his iconic spaghetti western sounds, also left a significant imprint on the horror genre.

His work on films such as "The Bird with the Crystal Plumage" and "Cat O'Nine Tails" showcases his ability to craft music that is both captivating and unsettling.

Morricone's horror scores often featured unconventional instrumentation and experimental techniques, creating a sense of otherworldly dread.

Some of his work was improvised, but Morricone the conductor and composer is felt throughout. Improvisation by direction is one way of putting it...whatever the title, the results speak for themselves.

Goblin: Progressive Rock Provocateurs

Goblin, an Italian progressive rock band, infused Italian horror soundtracks with a new energy. Some of their work is so intense that it's been mistaken for 90s industrial music by newcomers.

But Goblin is full of surprises, including the Italian disco influences that crept in when members of the band went full disco on a few tracks on Dario Argento's Tenebre.

It should be noted that this was NOT Goblin as we knew them on the Dawn of the Dead soundtrack or Suspiria--the music is not credit to Goblin but to three members of the band individually.

The reasons don't really matter, but its a bit of a dip in the road for the band at this point in their history.

That aside, Goblin sounds on films like "Deep Red" and "Suspiria" is characterized by driving rhythms, heavy guitar riffs, and the innovative use of synthesizers.

Their music, often described as "psychedelic" and "nightmarish," reflected the surreal and disturbing nature of the films. Pro tip--any fan of the 90s industrial movement should have a look and listen to Suspiria but play that movie LOUD.

Fabio Frizzi: Synth-Fueled Maestro

Fabio Frizzi further contributed to the evolution of Italian horror music. His work on films like "Zombie" and "The Beyond" is distinguished by its extensive use of synthesizers, crafting an atmosphere of otherworldly dread.

Some of his soundtrack work could be mistaken for a bit of otherworldly foley (the "worm music" in Zombie is a good example) and it's interesting to see the lines blur in that department.

Frizzi likes to inject some surprises into his work--Zombie includes some island culture-inspired music, and The Beyond takes evil ambient to a whole 'nother level. Recommended if you like your horror chunky.

There are too many Italian horror composers to list here, but in a future article, we’ll tackle Bruno Nicolai, Stelvio Cipriani, and Piero Umiliani. It should be noted that most of these composers did plenty of other soundtrack work too, the horror genre is only one facet of their work.

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