MUSEO ROSENBACH

The perfect introduction for Rock Progressivo Italiano: 9/10

If you know a little about the progressive niche and its peculiarities - including subgenres - you might have a certain idea of what is RPI. Certainly, then, MUSEO's paradoxical debut will meet your expectations accordingly, mostly because they're an allegory of it. Explosive keyboards and organ sweeps, straightforward melodies, good exploitation of odd time signatures - y'now, those songs that even though are alternating measure, still feel fluid as 4/4; that is, while internally is complex, externally, sounds pleasant and not like technical showcase - and most importantly a superb and intense performance by the singer Stefano Galifi; all those elements are vividly present in ZARATHRUSTA. Their style is really reminiscent of BANCO DEL MUTUO SOCCORSO, for all fans out there.

One of prog rock's propositions is particularly perceptible throughout the album. The absurd influence from classical music (disclaimer: when I say "classical" I don't mean the characteristics of that musical period specifically but what us laypeople think of as 'classical', that is, anything from Baroque to Romantic) spices the performance.

I mentioned earlier this album is paradoxical. This happens because it suffered from vicious critical uproar for its polemical conceptuality (Nietzchean philosophy & Mussolini, two things that Italians deemed as fascist), met with misunderstanding at its release, but eventually, rightfully regarded as a towering masterpiece. But just like most artists' magnum opus, first, critics bash it, then, they love it.

Since 1993 I've been blown away by Museo Rosenbach's classic Zarathustra, but upon first listen, I really loved the atmosphere but I knew it was a tough going, especially the production wasn't that great. In 2000 two original members Alberto Moreno and Giancarlo Golzi resurrected the Museo Rosenbach name and released Exit. I wished I bought that one when it came out, because although I don't own it, I've heard it, it's still very good, but unsurprisingly doesn't reach the heights of Zarathustra. In 2010 Il Tempio Della Clessidra (names after a movement of the Zarathustra suite) released their debut with none other the former Museo Rosenbach vocalist Stefano "Lupo" Galifi. That album received a lot of praise, and for good reason. But then Stefano jumped ship and rejoined Museo Rosenbach, which, for many fans, will lend more credibility. Still, the other two original members Enzo Merogno and Pit Corradi are still not present, so they brought in some new musicians, again. Alberto Moreno is credited to keyboards (although he was originally a bassist, as Pit Corradi was responsible for keyboards in the original lineup), but they also include a second keyboardist. In 2013 comes Barbarica. Well it's nice to see the original vocalist return, but like Exit, it's still very good, but doesn't quite reach the heights of Zarathustra. I am not too surprise. On the other hand the band isn't stuck in 1973, so the sound quality and production is quite modern without slipping into neo-prog territory. The keyboards are both digital and analog (sounds like a MiniMoog Voyager is being used). The Mellotron had pretty much disappeared, although there are some sampled tron flutes. The sounds is still unmistakably Museo Rosenbach, but more updated. The three original members are in their 60s so don't expect Giancarlo Golzi to drum like there's no tomorrow like on Zarathustra, so he more stays within what he's physically able to do. Stefano "Lupo" Galifi's voice has changed, but luckily doesn't sound shot like Black Moon-era Greg Lake or Frank Bornemann during the Visionary-era Eloy. The CD has its share of rocking passages, dramatic passages, as well as the occasional foray into world music. The cover to Barbarica is pretty cheesy, a cheesy rendition of an Egyptian sphinx face, but the rest of the artwork (like the booklet as well as the CD cover) is MUCH better. Comparing what Museo Rosenbach does now in 2013 would be like what Van der Graaf Generator has been doing since 2005 when they reunited and released Present (as well as three more releases as of this typing, in October 20, 2016). Don't compare new Museo Rosenbach with Zarathustra as much as you don't compare new VdGG with H to He Who Am the Only One or Pawn Hearts. Barbarica is Museo Rosenbach of 2013, not 1973. Also I love how the CD is just 40 minutes long, as I've griped elsewhere, since the 1990s there's been way too many 70+ minute releases by prog artists that just bore me to tears, because it's way too long and the music quality really slips as it progresses (it's like they're desperately scrapping the bottom of the barrel just to fill the CD). 40 minutes is just right, and demonstrates why double albums in the '70s were the exception, not the norm, and usually double albums appear once the artist has enough experience to do such, like when Genesis came up with the Lamb Lies Down on Broadway or the Who with Tommy (unless you happen to be The Mothers of Invention, Chicago or Warm Dust, who managed double album debuts, but they had enough good material to do such). In the end, Barbarica is very good, but never reaches the heights of Zarathustra. It grew on me enough to warrant four stars.

"I am a forest, and a night of dark trees: but he who is not afraid of my darkness, will find banks full of roses under my cypresses."

The above statement is one of the maxims of Friedrich Nietzsche's work published between 1883 and 1885, Thus Spoke Zarathustra. Unorthodox, independent, critical, simply different, and much misunderstood, Nietzsche's hopes were for the work of his life to become somewhat of a guide for lost humanity. The philosopher, however, was met by great disappointment, dying in horrid suffering and depression.

Exactly 90 years after the first part of Thus Spoke Zarathustra, a group of young musicians from Italy, Museo Rosenbach, were getting ready to record what would later turn out to be one of the lost treasures of Italian progressive rock music. But first, let's have a look at the act's roots. "Museo Rosenbach was formed in Bordighera, a seaside town in the Liguria region, a few kilometers, from the French Côte d'Azur, in December 1971," recalls Alberto Moreno, the band's co-founder, bassist, and composer. Museo Rosenbach emerged from the fusion of the groups Quinta Strada and Il Sistema. In fact, Moreno and Co. inherited some material from the latter. However, the young musicians felt they were in need of a vocalist. The guitarist, Pierluigi "Pit" Corradi, suggested they recruit blues-influenced Stefano "Lupo" Galifi, whom he had met during his military service. The current trend in Italy was to name bands after buildings, so Moreno came up with an idea of a museum (Museo) fused with the last name of a German publisher, Ottoman Ernst Rosenbach, which he really liked the sound of. After many live performances around the country, the band was offered to record an album and entered the studio in February 1973.

Similarly to Nietzsche's book, Museo Rosenbach's debut album Zarathustra is a bold, uncompromising statement. Musically, it could be said to derive its inspiration from many of contemporary bands like Genesis, Uriah Heep, Van Der Graaf Generator, and Pink Floyd, from the United Kingdom, as well as their countrymen, Banco del Mutuo Soccorso, Le Orme, Osanna, and Premiata Forneria Marconi. However, make no mistake, Museo Rosenbach's music cannot be compared to anything else in the world of music. Taking the power and might of Strauss' and Wagner's classical compositions, Museo Rosenbach make their elements shake hands with the heavy, raw quality of rock music, finding several common characteristics somewhere along the line. The music on Zarathustra is as heavy as it is finesse and tasteful - full of crunchy, overdriven guitar sounds, deep, expressive Hammond organ tones, and mellow, cloudy Mellotron soundscapes alike. Furthermore and probably even more importantly, Rosenbach's debut, similarly to Nietzsche's original work, is rich in evocative images, in this case musical images. Numerous tensions and their releases, a wide plethora of constantly changing atmospheres and auras, emotional, soulful storytelling - all these elements predominate on Zarathustra.

Side one of the album is fully occupied by a multimovement suite "Zarathustra", consisting of five parts. "We decided to build a suite that recounted Zarathustra's descent from the mountain after a period of meditation and his encounters with certain characters, who represent different schools of thought that the prophet criticizes," Confesses Moreno. He also remembers composing the piece in fragments - writing for a piano and then transcribing the piece for the whole band. The first movement, "L'Ultimo Uomo" opens in a gentle, yet confident manner. This part somewhat resembles the very first notes of Richard Strauss' piece Also Sprach Zarathustra, which the band admitted to, allegedly even opening their concerts with a portion of that composition. Then, the listener is suddenly approached by a more self-assured motif, creating an effect similar to a rising curtain. A silent part with Walter Franco's vocals follows, accompanied by echo and reverb, representing Zarathustra's descent from the mountain cave. After several repetitions, which are less gloomy, yet still very delicate, the majestic, heavy main theme of the movement kicks in with an interplay of Hammond organ, Mellotron, and guitar accompanied by a very heavy-hitting rhythm section. Only a few minutes in, the listener is already successfully invited to take part in the unique journey Museo Rosenbach are taking them on. The next movement, "Il Re Di Ieri", dominated by organ and piano, both drenched in reverb, alters the atmosphere, making it a bit unsettled. When the listener becomes slowly familiarized with the part, comes a short solo, utilizing a crispy Moog synthesizer timbre. Next come vocals from Giancarlo Golzi. All of the sudden, the rhythm section accompanied by a distorted guitar joins the spectacle, leading to "Al Di La Del Bene E Del Male." This one takes no time to hesitate, since the very first notes, the character is heavy and rather aggressive. The movement features the whole band singing to illustrate the mass of the priests who denounce Zarathustra and his teachings. The following "Superuomo", pictures Zarathustra experiencing a moment of weakness, as Moreno explains. The mood here is rather melancholic and halting, before going through numerous dynamically contrasted, diverse passages, representing Zarathustra reclaiming his power. The closing movement, "Il Tempio Delle Clessidre", opens with a haunting, celestial Mellotron, recalling Genesis' "Watcher of the Skies", until the main theme from "L'Ultimo Uomo" returns in its full glory, featuring a very emotional guitar solo in between the layers of organ, strings, bass, and rapid drums. This longer moment, very powerful and majestic, is the moment capable of bringing tears to one's eyes. The theme slowly descends towards silence.

Although the epic resonance of the title suite might seem hard to top, side two stands very strong, somewhat complimenting "Zarathustra." "Degli Uomini" opens with a high pitched Mellotron melody, which is quickly joined by the huge-sounding guitar and rhythm section. Going through dynamically contrasted sections, some based on the same melody put in different musical contexts, the track proves to be no worse than the overwhelming epic from side one in terms of composition and performance. "Della Natura" exposes its sophistication in the very first bars with a twisted organ melody. It is followed by a quieter vocal part, bringing Le Orme's most romantic moments to mind. It comes back after a brief instrumental interlude. The tension built is resolved in quite an opposite, baffling direction with a funky electric piano line. This leads to the loud chorus, which features very eccentric vocal parts. At one point, the atmosphere mellows out, repeating the Le Orme-like moment, which leads to a solo of interplaying Hammond organ, a Moog synthesizer, and screaming guitar. The closing track, "Dell'Eterno Ritorno" opens with a moment of abrupt heaviness, which quickly hides behind the constantly-developing passages, which, in my mind, really highlight every strength of the band - excellent compositional skill, a tremendous amount of instrumental know-how, and the ability to forge beautiful, striking instrument sounds. The track seems to finally settle in parts, but it's rather deceiving. After a few echoes of the previous motifs, the album closes with a symbolic Mellotron line.

It's worth remarking that the album caused a lot of controversy when it first appeared on the market. Not entirely due to being a tribute to Friedrich Nietzsche and his controversial work Thus Spoke Zarathustra, but rather to its artwork. It features a collage portraying a strange face, as Moreno indicates, that of Zarathustra, using images of jail bars, a countryside landscape, ancient buildings, and... a face of Benito Mussolini, a Nazi dictator from the period of World War II. Museo Rosenbach were accused of fascism, which in conjunction with poor marketing of the release and sheer bad luck (political protests at one of their biggest concerts, in Naples, unrelated to the band) led to the breakup of the band.

Zarathustra, Museo Rosenbach's only opus before their reformation in the 90's, is, in my opinion, one of the best, most creative, original, accomplished records to come out of Italy. Although stylistically, it is closer to rock music, I believe this to encourage many of the qualities of classical music of the highest order. Zarathustra is an astonishingly addictive journey and something to be experienced. Words cannot truly reflect the nature of this music. A jewel of progressive rock music!

Even though there are already so many reviews on this album, I still felt the need to add another praising one. This album quite clearly for me stands as one of the finest bits not only of Italian Progressive Rock but of Prog in general. The music is at times subtle (e.g. in Il Re De ieri or L'ultimo uomo) and at times rumbling (e.g. in Della Natura) in an alltogether very harmonious mix. the music is nver predictable or boring and yet quite accessible, which is not easy to achieve over the course of an entire album. But there is not one point on the album where it becomes borng, redundant or uninteresting. Instead, the album beautifully progresses and shifts easily from gloomy to more melodic moods, such as in Il Re De Ieri. It is an album to listen to closely, preferably in one bit.

The musicianship is top-notch and Galifi's vocals are very passionate and powerful, yet at times also subtle as in Superuomo. The production is good though of course the drums sound a bit flat by today's standard (here it is indeed interesting to compare the more aggressive but very clear drum sound of the rerecording from 2012). But Pit Corradi's keyboard and organ sound is absolutely fabulous and really adds a great quality to the overall sound.

The lyrics are very interesting and at times quite complicated. Surely, however, they were not fascist or right-wing oriented (as the band also makes clear in the booklet of their rerecording). In fact, Nietzsche himself strongly opposed nationalist and xenophobic tendencies, which should make it clear that the concept of the Superhuman is not meant to be the fascist idea it was unfortunately later made to be. And I believe that this album's lyrics are not meant to represent this either. They are devoted to the philosophy and in my opinion add to the quality of this album as they are very thoughtful (a good translation can be found on arlequins.it).

It is a shame that Museo Rosenbach did not produce more material in the 70s as composer Moreno seems to have been in a very inspired phase when he wrote this album: there are simply no musical flaws I could point to. But then, maybe it is the singularity of this album that adds even more to the name of Museo Rosenbach. Do yourself a favour and get this album, which is luckily now widely available in various formats (CD, LP and digital).

MUSEO ROSENBACH hasn't exactly been the most prolific band in the World when it comes to creating music. They released their classic "Zarathustra" back in 1973 and that was followed up by "Exit" released in 2000 then this record "Barbarica" released in 2013. There certainly is a lot to like with their most recent album but there's also some rather unconvincing sections in my opinion.

"Il Respiro Del Pianeta" is the almost 14 minute epic and it opens the proceedings in style. It opens with an almost dirge-like atmosphere before the vocals arrive after a minute. The vocals stop and the music picks up with some nice guitar. A powerful soundscape follows before it settles in sounding very Italian with that accordion. The vocals are back as this song continues to shift. Organ and heavy guitar come in after 5 1/2 minutes but again the song continues to change in tempo and mood. "La Coda Del Diavolo" is melancholic with laid back vocals and the violin really adds to the sadness. It kicks in hard after 3 minutes. Drums to the fore as we get this driving rhythm and the organ joins in as well. I'm not a fan of this driving section and the passionate vocals.

"Abbandonati" features tribal-like drumming and flute early on then multi- vocals come in that I don't like. Some heavy guitar comes and goes then it settles around 2 minutes with vocals. Nice bass 3 1/2 minutes in and the heaviness will come and go. "Fiore Di Vendetta" opens with synths before we get some metalish guitar with organ. It calms right down and flute joins in. Reserved vocals after 2 minutes then it turns more powerful 3 1/2 minutes in before calming down once again. It's heavy before 5 minutes and the vocals return as well. "Il Re Del Circo" ends the album and it opens with flute and gentle guitar. It becomes heavier before a minute but it settles back again quickly with relaxed vocals but they do get passionate at times. Some nice drum work and I also like the organ here. Aggressive guitar joins in as well as it picks up with vocals. Not a fan of the fast paced vocals and sound though. Drums and synths standout late.

Clearly this album is but a shadow of their classic recording "Zarathustra" but there's lots to like here too. I wish the mellotron was more prominent and that the modern vibe was toned down. 3 stars.

A band with no small reputation that has certainly managed to spread their albums out over the years (3 in 40 years, to be exact), Museo Rosenbach is hardly a small name when it comes to the classic RPI scene, and 2013 sees the release of Barbarica. No matter how you spin it, when you have a record in your catalogue of the caliber of 1973′s Zarathustra, the expectations are high, and in this case I would say that Museo Rosenbach was a bit short in reaching them, releasing an album that in my opinion had its ups and downs. On the upside there are some great vocal lines, such as the ominous vocal presence in "Il respiro del pianeta," and the powerful melodies of "Fiori di vendetta." Instrumentally speaking, there were some grand moments, such as the fabulous keyboard solo and epic climax of "Abandonati." On the other hand, there were segments of songs and transitions that felt a bit disjointed, such as when the electric instruments come in on "La coda del diavolo," leaving the impression of riff cutting and pasting. Regardless, Barbarica is a decent album and fans of the band will no doubt be happy to have another release from this great band. And besides, I'm thrilled to see them live next year at Baja Prog, where I'm sure they'll full on deliver the goods.

While not their only album, Museo Rosenbach's Zarathustra is by far their best, and certainly one of, if not the best RPI offering. The album takes the best of the Italian genre and mushes it into what could only be described as a flawless album from beginning to end. The energy and intensity is at an undeniable high, but is balanced by more atmospheric and melodic moments to give this a very diverse feel.

As mentioned, the basic style of this album is rooted in the intensity of Banco, the melody of PFM, and the prevalent keyboard work of Le Orme. The admirable thing then perhaps is their ability to sound completely unique despite carrying this combination.

Musically, the album is filled to the brim with energy and intensity. Ideas are mostly upbeat and flow from one to the next in rapid succession. Despite this, there is no shortage of theme development, leaving the listener engaged, yet allowing the album to become cohesive. This is something I believe only a few bands achieve, and is probably the strongest point of the album.

It is a bit harder to talk on a song to song basis, as each song offers something unique to the album such that a single one doesn't truly stand out. It is for this reason why I believe this is one of the more consistent listens from beginning to end. However, I believe one would need only listen to the beautiful main theme in 'Il tempio delle clessidre' or the crushing opening riff and organ work of 'Degli Uomini' to have a good understanding of the album.

This is without a doubt a masterpiece. Exciting, engaging, creative; the vocals are superb and the production leaves plenty of breathing room. This is as flawless an album as I can think of.

10/10

Like more than a few folks on here, I am of the opinion that Museo Rosenbach's Zarathustra is one of the top few best albums of Rock Progressivo Italiano, and I also believe that that album stands up well alongside many of the better known classics from England such as Close to the Edge, Meddle, Tarkus, and Larks Tongues in Aspic.

Thirty years after the release of this RPI classic, Museo Rosenbach has reformed and produced a new studio record. Singer Galifi, who performed on one of the best album of modern prog, the debut by Il Tempio Delle Clessidre, and some other original Museo members, including the drummer Golzi, are aboard this incarnation. The result is the album Barbarica, a piece that asserts itself right away and remains inspired for its duration.

Barbarica is more technical and modern than Zarathustra for sure, and far less obviously retro than the Flower King types (who I'm not really into), even though Museo is centered on older guys who were there the first time around. In fact, this album doesn't feel retro at all, but like people from another era doing what they do and in many ways embracing a more modern sound for their proggy compositions. This feels as modern as Deep Purple's Purpendicular did in the 90s---and evinces a similar amount of inspiration.

While I definitely prefer the warmer more spacious analog sound of Zarathustra, the clean, sharp and loud production of Barbarica definitely fits the more technical bits in songs like Il Re Del Circo, and the overdriven tone of the guitar occasionally sounds metallic, but never remains prominent in the mix that way for too long. The leads that leap from the speakers throughout the album recall some of Belew's finest moments in King Crimson, and the ambitious opener Il Respiro Del Planeta is a marvel of ever-evolving and continuously changing songwriting.

Other than the colder/louder sound, the only disappointment for me was that the album lacks the incredible drumming of Zarathustra, even though it is the same player (plus thirty years...). Golzi is very solid on this new one, and occasionally plays some tasty fills, but on Zarathustra it sounded like he was conquering a planet.

Although Barbarica doesn't have the pinnacle highs of Zarathustra, it also has none of the mistakes of that excellent debut, such as the unwanted fade out in the first epic song or the occasional wacky vocals that aren't quite "on." Thirty years later, Museo Rosenbach proffers RPI music that is more technical, more confident, a bit more logical, and more consistently well sung than they originally did: Their return is a grand success.

Bravo!

I seem to love this subgenre and Museo Rosenbach's latest was one more nice experience. They have been around for over fourty years and "Barbarica" is their third record, thirteen years since the last one. The cover shows a very coloured face in front of a purple, red and brown background. The album has a normal length and contains five tracks. We have seven musicians on this record: Stefano Galifi sings, Alberto Moreno plays bass and mellotron, Giancarlo Golzi drums, Sandro Livra plays guitar, Max Borelli plays guitar and sings, Fabio Meggetto plays keyboards and Andy Senis plays bass and sings.

The album has always everything you can creve from a band in this genre. It sounds professional and they do a greta job with the instruments. Perhaps I had wanted anything more from the compositions. Perhaps I will come back to this and rate it up one star. Right now three stars feels most fair. I felt I lacked originaity and progressivity in the music, as like the band were playing like the symphonic law book. But still it's very honest and nice. So this is a strong three star record.

All compositions are good so here we have an even record. "Il respiro del pianeta" was the most lengthy track and a nice one. The best though was "Abbandonati" and "Il re del circo". I also must say the main voice is great in this album even if I lack some form or uniqueness. The album is both symphonic and expressive. A fine exemple of nowadays prog rock. I think it's a record which will grow - call this review immature if you want. Worth checking out!

Italian Progressive bands have always been a kind of mystery. First, because they have been always releasing tons of albums since the end of 60's and throughout 70's. But not just that. There have always been bands releasing albums, especially in the 90's and forward. What was always weird, is that they release an album and fade away in the haze of time?

In the last years many bands that were considered 70's giants came back to life. Many bands that had only one album and it has always been classified as big classics of the golden era of Prog Rock came back to record. Locanda Delle Fate, Alphataurus, Antonius Rex and Osage Tribe are few examples of bands that released new studio album during last year. Also, the two biggest names of that country, Le Orme and Premiata Forneria Marconi released new albums in the last 2 or 3 years.

One of this bands that returned with total power is Museo Rosenbach This Italian band recorded one album only back in the 70's, the classic Zarathustra (1973), and vanished just some months after that. In 2012 a new line-up of Museo Rosenbach featuring original members Stefano 'Lupo' Galifi (vocals), Giancarlo Golzi (drums) and Alberto Moreno (keyboards) with new members Sandro Libra (guitars), Max Borelli (guitars), Fabio Meggetto (keyboards) and Andy Senis (bass) released a CD containing a remake of their 1973 classic called Zarathustra - Live In Studio (2012). This year they surprised many people by releasing a brand new album, Barbarica (2013).

The album comes wrapped in all the 70's details that most proggers love. Digipack in Gategold sleeve, 5 songs that spam around 40 minutes, the 70's sound style and of course, a conceptual album.

Barbarica (2013) tells a story based on a world that is dominated by an instinctive violence, this violence brings the civilization back to its primitive barbaric state. So the band tries to tell a story of a world that is lost and torn apart by wars and, of course, by man itself.

When the opening track 'Il Respiro Del Pianeta' starts you can see that the band still has power and the best thing, doesn't try to emulate new bands or new sounds, they go where they were good once, the Symphonic Prog Italian style. Over 13 minutes of great Prog. 'La Coda Del Diavolo' continues the quality of the first track, this time with some heavier passages. One thing to notice is that Stefano Galifi still has a powerful voice even after 40 years.

'Abbandonati' is enigmatic and abuses from the keyboards and guitars. By the way, great use of guitars by the new members Sandro Libra and Max Borelli. 'Fiore Di Vendetta' is a bit more Hard Rock and 'Il Re Del Circo' starts slowly but soon gains strength, Giancarlo Golzi drums on this track seem a bit sloppy, but everything turn out to be alright in the end.

Some people might say: "What's the point in a band like Museo Rosenbach to come back in 2013?" In times like ours that we have all these Prog bands that are supposed to 'sound modern' and all these bands that wanted to be on 70's but weren't. Museo Rosenbach is the finest answer around. They were there on the top of the Prog wave, they released one of the more important albums on that golden era. And on top of that, Barbarica (2013) is a hell of a comeback with some superb music and experienced musicians. This is a definitely 'must have' album!

(Originally posted on progshine.net)