Suspiria is madness. The mechanism largely driving this madness is Goblin’s score and, most importantly, their”Suspiria” theme.
In the film’s opening moments doe-eyed ballet student Suzy Banyon arrives alone in a foreign land. Immediately Goblin begins pummeling her with bursts of the haunting theme. It startles and shocks her but doesn’t turn her away. Its lulling, hypnotic nature (brought about through the use of rhythmic bells and the ethereal celesta) lures Suzy deeper into the nightmare of Suspiria.
She’s greeted by the dark, synth and bass driven prog and psychedelic rock the constitutes most of Goblin’s score. These pieces slow the pace down and feel familiar and normal, enough that they ground the film. Suzy is able to take a breath and relax, if only for a moment.
The normalcy does not last. The slow rumble of growls, shrieks, and quickly chanted gibberish, reminiscent of the vocals in a lo-fi black metal project, break its spell. Shortly after, the theme returns. Sometimes it comes in abrupt, jarring punches that jolt and frighten before disappearing as if it was never there. Other times it builds up, slow and drawn-out, sucking us deeper and deeper into the nightmare. But it is always there, waiting to unleash Suspiria’s madness.
