BARBARICA

Rosenbach is back!

The latest in a trend of classic RPI bands reuniting for one more round, Museo Rosenbach join the ranks of Alphataurus, Locanda Delle Fate, and Garybaldi with new releases in the last year. Of those, only Alphataurus has offered a new studio recording, which Barbarica easily tops in both originality and authenticity. Original Museo members "Lupo" Galifi, Giancarlo Golzi, and Alberto Moreno are again joined by guitarists Sandro Libra and Max Borelli, bassist Andy Senis, and keyboard player Fabio Meggetto as on the Zarathustra Live in Studio album. These new recruits are able to achieve the rarely possible task of breathing new life into an old band while maintaining that group's original sensibility. Barbarica actually sounds like Museo Rosenbach, which is amazing considering the amount of time passed and changes in the musical landscape. A leaner, more aggressive band has emerged and while this suits the lyrical theme of war-torn civilization, it may rub some Museo stalwarts the wrong way. Heavy Prog has morphed into a hybrid Symphonic Metal genre that Museo Rosenbach seems to embrace, and this stylistic choice prevents the album from becoming a four-star affair in my book. Still, Barbarica is one of the better contemporary Italian Prog albums I've heard this year.

The album's centerpiece of course is the 14-minute "Il Respiro Del Pianeta" which hearkens immediately to the sound of 1973's classic Zarathustra. Though Barbarica never approaches the genius of that album, it keeps an eye to the past while trying new ideas. At times however, this new Museo relies a little too much on its own legacy and uses some of the same stylistic changes and mood shifts that so define the band's classic sound: In the first four minutes alone, no fewer than six distinct sections introduce "Il Respiro Del Pianeta," which borders on excess in my opinion. This Economy of Scale approach belies the individual members' contributions, and almost seems like too many cooks are stirring the broth. Though the sheer amount of compositional concepts is impressive, the transitions between them can feel forced in some cases. For instance, the pause at 5:30 as the song shifts from romantic balladry to testosterone-laden Hammond Rock...perhaps this respite was intentional but it seems like the band just couldn't find a way to get from point A to point B without simply stopping in between.

The remaining four tracks do a better job of progressing the identity of the band without being nostalgic. Lupo leads a determined bunch on "La Coda Del Diavolo," which reminds me a lot of his work with Il Tempo Delle Clessidre. "Abbandonati" reflects the album's cover art with its African themes and tribal chanting. "Fiore Di Vendetta" is the most modern sounding track here, and doesn't impress. "Il Re Del Circo" has a much darker tone and does the best job of blending the classic Museo sound with a new twist. Barbarica is a must-have for Contemporary Italian Prog fans; RPI collectors will no doubt be intrigued by its appeal, and even adventurous Heavy Prog listeners may find something to take away. The average Prog fan though will probably want to pass on Barbarica for now, and come back to it when a taste for foreign-language music has developed. Three really strong stars.

One of the greatest, if not the greatest Italian prog album of the last few years was the debut from Il Tempio Delle Clessidre. An album that really captured the essence of what is so special about Italian prog. Symphonic prog at its best full of stunning melodies and soaring instrumental work it was one of the highlights of 2010. Of note was the fact that the band featured none other than vocalist Stefano " Lupo" Galifi from legendary Italian sympnonic prog band Museo Rosenbach. Since making one album with Il Tempio Delle Clessidre he's jumped ship and joined the reformed Museo Rosenbach which also features two other original members - Albert Moreno on bass and drummer Giancarlo Golzi. Along with four new members Barbarica is their first new album (not including the live in the studio reworking of the their classic Zarathustra).

Like fellow Italians Alphataurus, who've also made a recent and unexpected comeback, they've produced a solid effort though it won't be troubling Zarathustra for best album status in their catalogue. Also like Alphataurus its slick and well played though just a little sterile and lacks the compelling nature of their masterpiece. Nevertheless the five compositions are good to very good symphonic prog with heavy touches with some pleasing instrumental work alongside Galifi's very capable vocals. A welcome return then but whether Galifi lives to regret leaving Il Tempio Delle Clessidre remains to be seen, who seem more at the cutting edge of the current RPI scene, long awaited second album due in a few months I believe. 3 ½ stars.

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)

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!

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!

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.

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.

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.

The same line up that recorded "Zarathustra Live In Studio" worked on its 2013 follow up, "Barbarica", that was released on the independent label Immaginifica like its predecessor. The result is gorgeous and reflects the successful efforts made by the new line up to update vintage sounds with a new millennium taste. The beautiful art cover by Monica Di Rocco in some way expresses the connection with the previous work...

The opener "Il respiro del pianeta" (The breathing of the planet) is a brand new suite that deals with environmental issues and takes over the baton from Zarathustra trying to describe the difficult relationship between man and nature. There are many changes in rhythm and atmosphere as the music and lyrics evoke with powerful, colourful images the spirit of the Earth and its smothered, pulsing beating. Crows and eagles flying over the horizon show paths, currents and rituals to admire the uncontaminated face of the planet while the shades of a thick, impenetrable forest hide the words that bring the storm in its deepest secrets...

"La coda del diavolo" (The devil's tail) is another brand new track that deals with the consequences of war. It's a complex piece that begins softly, by a reflective part where the vocals play the role of a man escaping from the horror of war, in search for peace and harmony. The protagonist has lost his friends and if he opens his heart there's no one left to listen to him. His voice soars like a heartfelt prayer. Then an aggressive electric guitar breaks in, the rhythm rises, the atmosphere becomes heavier as the music and vocals describe with visionary poetical force a valley thundering with bombs where harmony is torn apart by weapons. Blind hatred, desperation and a senseless fury lightens the smile of a merciless stone giant...

"Abbandonati" (Abandoned) is a new version of piece from Museo Rosenbach's second studio album, Exit. The music and lyrics depict with their visionary force a country ravaged by war, starving children desperately trying to escape from a divided nation, scared eyes behind the barbed wires, forgotten heroes dead in vain. The new version, in my opinion, is far better than the previous one. The first part of this piece on Exit, "Tuareg", was cut off and the second part developed with a different, convincing arrangement, evoking the silent pain of the refugees who are desperately trying to find a better way of life...

The epic "Fiore di vendetta" (Revenge flower) is an excellent new version of a piece originally released on the 2003 Colossus Musea themed album Kalevala. It tells of a dramatic story of war and vengeance. A beautiful girl is one of the few survivors of her people, annihilated by the enemy that made of her a slave. The girl bides her time while the seed of revenge grows in her soul, ready to blossom like a terrible flower...

"Il re del circo" (The king of the circus) is another piece that was originally released on Exit and that finds here a new life with the great interpretation of Stefano "Lupo" Galifi in the role of a crazy, merciless sniper shooting at the civilians in the streets of Sarajevo during the war in the ex Yugoslavia and a more aggressive arrangement that emphasizes the surreal horror of a rain of tears and bullets...

On the whole, an excellent work!