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MUSEO ROSENBACH

Rock Progressivo Italiano • Italy


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Museo Rosenbach biography
This is a one-shot-band including Pit Corradi (keyboards), Giancarlo Golzi (drums), Enzo Merogno (guitar/vocals), Alberto Moreno (bas/piano) and singer Stefano Galifi. In '73 they released "Zarathustra" (about Nietzsche's superman), this album is still considered as one of the masterpieces in the world of progrock. And it's one of the most sought after "collector items". In '92 the CD's "Rare and Unreleased" and "Live" '72 were released, both interesting but with inferior sound quality. A new line-up with the drummer and the bass player who made the album "Exit" in 2000.

The album "Zarathustra" starts with the magnificent titletrack (five parts, almost 21 minutes). The foundation is a beautiful theme (like in "Firth of Fifth" from GENESIS) that returns in different climates (from dreamy to heavy and bombastic) and with different colouring of the instruments. The interplay between the electric guitar, keyboards (Hammond organ, synthesizer and piano), rhythm-section (propulsive and perfectly timed drumming) and strong and expressive Italian vocals is very captivating. It all creates a constant tension, topped by majestic eruptions of the Mellotron. The omni-presence of this instrument gives the titletrack the same thrilling impact as it does on the early albums from KING CRIMSON and GENESIS! The other three (shorter) tracks sound flowing and powerful with a lot of Hammond organ and guitarplay with echoes from Steve HACKETT. ESSENTIAL!

A long anticipated return called "Barbarica" arrives in April 2013.


-Erik Neuteboom-

Museo Rosenbach official website

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Museo Rosenbach - Zarathustra - Ltd. Edn. (Digipak) (CD)Museo Rosenbach - Zarathustra - Ltd. Edn. (Digipak) (CD)
Limited Collector's Edition · Import
Flawed Gems 7365537740397
Audio CD$19.99
Zarathustra Live in StudioZarathustra Live in Studio
Import
Aerostella 2012
Audio CD$15.78
$20.73 (used)
Live in TokyoLive in Tokyo
Import
Imports 2014
Audio CD$19.10
$25.82 (used)
ZarathustraZarathustra
Import
Sony/Bmg Italy 1998
Audio CD$21.99
$22.42 (used)
BarbaricaBarbarica
Import
Imports 2013
Audio CD$36.21
$21.99 (used)
BarbaricaBarbarica
Import
Belle Antique 2013
Audio CD$64.17
$64.17 (used)
Official Bootleg LimitedOfficial Bootleg Limited
Import
Imports 2013
Audio CD$69.75
Rare & UnreleasedRare & Unreleased
Import
Mello 2006
Audio CD$440.39
$35.99 (used)
ExitExit
Import
2008
Audio CD$202.50 (used)
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MUSEO ROSENBACH discography


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MUSEO ROSENBACH top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.29 | 495 ratings
Zarathustra
1973
3.32 | 22 ratings
Exit
2000
3.61 | 53 ratings
Barbarica
2013

MUSEO ROSENBACH Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

1.62 | 14 ratings
Museo Rosenbach Live '72
1992
3.72 | 16 ratings
Zarathustra - Live in Studio
2012
4.50 | 2 ratings
Live in Tokyo
2014

MUSEO ROSENBACH Videos (DVD, Blu-ray, VHS etc)

MUSEO ROSENBACH Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.10 | 11 ratings
Rare and Unreleased (recorded 1972)
1992
2.75 | 4 ratings
Rarities
1992

MUSEO ROSENBACH Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

MUSEO ROSENBACH Reviews


Showing last 10 reviews only
 Zarathustra by MUSEO ROSENBACH album cover Studio Album, 1973
4.29 | 495 ratings

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Zarathustra
Museo Rosenbach Rock Progressivo Italiano

Review by Mr. Mustard

5 stars 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

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 Barbarica by MUSEO ROSENBACH album cover Studio Album, 2013
3.61 | 53 ratings

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Barbarica
Museo Rosenbach Rock Progressivo Italiano

Review by Zahler

4 stars 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!

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 Barbarica by MUSEO ROSENBACH album cover Studio Album, 2013
3.61 | 53 ratings

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Barbarica
Museo Rosenbach Rock Progressivo Italiano

Review by DrömmarenAdrian

3 stars 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!

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 Barbarica by MUSEO ROSENBACH album cover Studio Album, 2013
3.61 | 53 ratings

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Barbarica
Museo Rosenbach Rock Progressivo Italiano

Review by ProgShine
Collaborator Errors & Omissions and Crossover Team

4 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)

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 Barbarica by MUSEO ROSENBACH album cover Studio Album, 2013
3.61 | 53 ratings

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Barbarica
Museo Rosenbach Rock Progressivo Italiano

Review by Nightfly
Special Collaborator Rock Progressivo Italiano Team

3 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.

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 Exit by MUSEO ROSENBACH album cover Studio Album, 2000
3.32 | 22 ratings

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Exit
Museo Rosenbach Rock Progressivo Italiano

Review by apps79
Special Collaborator Neo Prog Team

3 stars ''Zarathustra'' was more or less regarded as an album created by fascists due to its extreme cover and lyrics and Museo Rosenbach disbanded after some concerts during the summer of 73' with Giancarlo Golzi continuing as a member of the Pop Rock act Matia Bazar.Fast forward some 25 years Golzi along with Alberto Moreno re-established the group with new members Andrea Biancheri on vocals, Marco Balbo on guitars, Marioluca Bariona and Sergio Cossu both on keyboards.Between December 98' and December 99' the new MR formation created the album ''Exit'', which was released in 2000 on Nuova Carisch, the new name of the old Disco Carisch label.

Forget about the bombastic, heavy and complex sound of the old Museo Rosenbach.''Exit'' is basically a melodic Italian Rock album with a beautiful lyrical approach and occasional progressive vibes at moments, the focus though remains an atmospheric song-based style with limited yet interesting instrumental parts.New singer Biancheri has a nice, sensational voice, offering rare emotions, and the music seems to have been built around his warm vocals.Music is quite laid-back with a deep sense of melody, based on synths and guitars, following the new Art Rock trend.Some parts of the album have a good orchestral sound among the more accesible themes, while here and there the listener faces the old side of the group through some carefully-placed organ and Mellotron washes.However the sound actually never escapes the easy path of melodic and atmospheric Rock, so you shouldn't expect any kind of intricate interplays or complicated instrumental lines from ''Exit''.

If you reach this album as an old Museo Rosenbach fan, then the game is lost.For what it is, ''Exit'' is a great album full of emotional moments and great melodies.Recommended, but be sure to listen to this new formation as a totally new entry with no comparisons to the vintage years of the group.

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 Barbarica by MUSEO ROSENBACH album cover Studio Album, 2013
3.61 | 53 ratings

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Barbarica
Museo Rosenbach Rock Progressivo Italiano

Review by coasterzombie

3 stars 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.

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 Zarathustra - Live in Studio by MUSEO ROSENBACH album cover Live, 2012
3.72 | 16 ratings

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Zarathustra - Live in Studio
Museo Rosenbach Rock Progressivo Italiano

Review by coasterzombie

3 stars It does what it says on the tin - RPI heroes Museo Rosenbach reunite nearly 40 years later to re-record their landmark 1973 release Zarathustra note-for-note. Founding members Stefano "Lupo" Galifi (vocals), Giancarlo Golzi (drums), and Alberto Moreno (piano) are assisted by an ample cast including guitarists Sandro Libra and Max Borelli, bassist Andy Senis, and keyboard player Fabio Meggetto. The extra hands on deck allow Museo to realize and revitalize the album without compromise, and fully cover all the integral parts of the original. The running order has been altered somewhat, placing the climactic "Zarathustra" suite at the end, as performed in concert. The sound is decidedly modern, bringing the somewhat hastily recorded original into the 21st century with a heavier edge. Always a Heavy Prog group, the new Museo Rosenbach almost skew Progressive Metal, primarily due to the thrash tone of the guitars. The whole production reminds me a lot of Claudio Simonetti's work with Daemonia, and how the Goblin catalog was interpreted. This can be good or bad depending on how you look at it; while I would love for Museo Rosenbach to have new-found success and get the attention they deserve, in my opinion there is nothing wrong with the original album. Quite the contrary: Zarathustra is an essential RPI pillar and one of the top five Italian Prog albums in nearly everyone's list. Though this new Zarathustra will never replace the original, the more the merrier I suppose.

"Dell'Eterno Ritorno" is prefaced with a newly-penned "Intro" section - I hear some middle- eastern influences and don't quite understand the connection but the song proper begins soon enough. I was taken aback immediately by the crisp, modern production; I expected Live in Studio to sound good, just not this good. For a live album, the performances are spot-on and maybe even a little too perfect. Lupo sounds like he hasn't aged a day and his voice is in incredible shape. Golzi and Moreno also provide impressive contributions, doubly so for Moreno who also serves as bandleader and artistic director. "Degli Uomini" and its immediately recognizable Mellotron intro take things up a notch in the energy department. The keyboard sounds are actually pretty authentic for software synths - of course I would prefer the genuine article, but from a logistical standpoint they make more sense. "Della Natura" is an accurate portrayal of the original, though some liberties are taken here and there. The palm-muted guitar technique is overdone at times, but the general spirit of the song is never lost.

The 22-minute "Zarathustra" suite and its five movements are faithfully reproduced, though the new band members are permitted to leave their stamp and make it their own. Andy Senis in particular does a great job re-imagining some of the bass lines, in many cases improving upon the original. Again the keyboards are tasteful for the most part and Golzi is just a beast on the drums. Live in Studio is well done if somewhat unnecessary. I would much rather hear some new material or have a DVD of the performance instead. As a contemporary release it is still miles better than 90 percent of music today, and the timelessness of the original is fully vindicated and celebrated. And it's a lot of fun.

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 Zarathustra by MUSEO ROSENBACH album cover Studio Album, 1973
4.29 | 495 ratings

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Zarathustra
Museo Rosenbach Rock Progressivo Italiano

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

5 stars A milestone RPI album, Museo Rosenbach's "Zarathustra" is brimming over with innovation and inventiveness with some extraordinary compositions and musicianship. The epic title track is a mesmirising masterpiece beginning with quiet reflective vocals in Italian and some weird music until the percussion cracks through and an uptempo sound is heard awash with Mellotron. There are 5 distinct sections to this colossal epic including a gentle piano passage, and flute that floats along a sustained shimmering keyboard motif. The buzzing low synth is heard at about 6 minutes in, and more of the vocals in the distance. Eventually a fast paced rhythm bursts forth and much more aggressive vox and keyboard lines. The 'Superuomo' segment is where I get most interested with its quirky vocals and Hammond lines over strong percussion attacks.

The Mellotron takes over on the next track 'Degli uomini' that is at first instrumental. It has a smooth texture of organ and heavy guitar with percussion blasts. It changes in mood as the piece develops. The lead guitar is a dominant feature, and it has some grinding organ sounding like Procol Harum in places or Focus. Vocals finally join the sound just before it all goes quiet.

'Della natura' is a faster piece with odd meters and frenetic organ shimmers. The vocals are again Italian and rather gentle coming in when the music dies down. A great polyrhythmic meter locks in as Mellotron bellows out over powerhouse drumming and bass motifs. The rhythms increase in pace and break away as more vocals blaze away, and then chiming vibes are heard on organ, sounding like Manzarek's style of The Doors. It is a dramatic song in every respect, with lots of twists and turns and definitely one of the highlights.

The last track is 'Dell'eterno ritorno', a heavy guitar driven rocker, with some chaotic figures on keyboards, bass and percussion. It is a grand way to end such a classic album, going out with a bang not a whimper. It settles into a dreamy section and the vocals are multi tracked and emotional. Eventually it returns to the spasmodic fractured melody and then a striking percussive march over an organ phrase.

This one really lives up to its massive reputation as yet another one shot album that blows the doors off conventional musicianship. It is up there with Dun's "Eros", Anglagard's "Hybris", Bubu's "Anabelas" and Yezda Urfa's self titled debut. Check it out even if you are not into jazz, as this album has a lot going on and is well worth the effort.

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 Zarathustra by MUSEO ROSENBACH album cover Studio Album, 1973
4.29 | 495 ratings

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Zarathustra
Museo Rosenbach Rock Progressivo Italiano

Review by Negoba
Prog Reviewer

4 stars Rocking RPI Album is Worth Some Extra Listening Time

I acquired ZARATHUSTRA in a glut of Italian prog about 2-3 years ago, and it frankly didn't leave much of an impression on me. I've recently been going through those albums one by one with much deeper listens. While a few albums have worn down with repeated careful scrutiny, this one keeps getting better. After several days of triple end over end playing time, I've been pleasantly rewarded by Museo Rosenbach in the classic manner of good prog.

In general, ZARATHUSTRA incorporates much more classic hard rock guitar than most Italian prog. While many RPI bands use some guitar soloing a la Steve Hackett, Museo Rosenbach's Enzo Merogno gets in plenty of energetic riffage as well. Others have made comparisons to Deep Purple but the lines here are so much more complex. Alternating between unison, harmony, and counterpoint with the also wonderful keys, the guitar lines are much more composed parts of the music than solo spots.

The introductory epic title track is a big chunk to bite off, especially at first, and this is probably why my first impression was not as strong as my current opinion. While this album does have sections of typical romantic Italian sentiment, it also has monstrously rocking passages where the whole band is simply humming. "Della Natura" has some deliciously intense work that looks ahead to modern bands like Anglagard. As a matter of fact, after making this connection, I am hearing connections to the 90's Swedes all over this record. In contrast, however, vocalist Stefano Lupo Galifi is featured prominently, and his rough baritone contrasts sharply with Anglagard's occasional wispy ornamentation. He simultaneously achieves a rocker's ability to be convincingly aggressive and the sense of Italian melodicism, and is perhaps my favorite of the RPI vocalists.

While the compositions on this album are very good, this is not a virtuosic album. No single player takes a spot simply to show his skills. There are no big solo spots. The most impressive sections are instead when everyone is playing full bore in delightfully interconnected parts. This is not to say the players are weak. In fact, all nail their parts well. But this is a music about the song, about the big picture.

I'm not ready to place this in the essential category, but without a doubt, this is an excellent addition to any prog collection.

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