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Museo Rosenbach - Zarathustra CD (album) cover


Museo Rosenbach


Rock Progressivo Italiano

4.32 | 962 ratings

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5 stars "Vivo el superalbum!", Friedrich Nietzsche, 1889 (at least, if he had listened to it, I'm pretty sure that he would have said that)

Museo Rosenbach's Zarathustra is indeed a concept album taking the great ideas of Nietzsche's Also Sprach Zarathustra and its construction is, de facto a reference to it : the long eponymous epic suite, Zarathustra, is composed of several movement and each recalls a notion of Nietzsche's philosophy :

a. L'Ultimo Uomo (3:57) : the last man, for Nietzsche, the man who does not evolve and remain static all his life, the man who has no will to power (another Nietzsche's concept)

b. Il Re Di Ieri (3:12) : another very complicated Nietzsche's idea and I won't spread it here because it might misunderstood.

c. Al Di La Del Bene E Del Male (4:09) : this one is the nihilistic part of Nietzsche's philosophy and is about morality and the State.

d. Superuomo (1:22) : the superman, the most infamous and disliked Nietzsche's notion and this is partly why Museo Rosenbach got boycotted, but we'll talk about it later.

e. Il Tempio Delle Clessidre (8:02) : a totally instrumental part without any lyrics but by the title, I would connect it to the Nietzsche's concept of the "most quiet hour", when the man tries to choose between good and evil, but doesn't achieve it.

Aside from this piece on the B-Face, we get these 3 songs that, again, recall for Nietzsche's philosophy:

2. Degli Uomini (4:01) : "Of the Humanity" : the "of the" construction is a reference to the way that Nietzsche organise his aphorisms on his books and especially on Zarathustra.

3. Della Natura (8:24) : "Of the Nature"

4. Dell'Eterno Ritorno (6:15) : "Of The Eternal Return" The eternal return is a very complicated idea set up by Nietzsche which could be interpreted as the eternal evolution and the cycle of life.

After explaining this part we can now move on what is the most important on this forum, the music! The music of Museo Rosenbach is very influenced by all that was happening at the time in Italy : multiple English and German- speaking bands coming there and a lot of young men (and girls, who know?) being interested in this new rock current : something more complex, more fetched, more intelligent! Indeed, it generated a lot of bands that, at the time, were releasing one album enthusiastically and were then leaved suddenly by their labels wanting to create the Italian GENESIS or ELP, because most of the time, sadly, their music was not very commercial nor easy-listening and independent labels could be counted on the fingers of a hand. All this cocktail, exciting and cruel at the same time, ended up having TONS of bands releasing one LP and disappearing in nature. Museo Rosenbach is, in fact, one of these bands, but, alongside with ALPHATAURUS, MAXOPHONE, LOCANDA DELLE FATE, IL BALETTO DE BRONZO and a lot of others, their only album was a magnificent one still praised today in a lot of places in the world by a lot of prog lovers. Inspired by KING CRIMSON, VAN DER GRAAF GENERATOR, YES and their local OSANNA they made a very signature prog with a heavy use of the Mellotron, The Moog and the Hammond C-3 accompanied by an heavy distorted guitar that recalls OSANNA's one. Their ELP influence is no longer needing to be proven and if you want one, just listen to Al Di La Del Bene E Del Male, the third movement of Zarathustra, you will understand what i mean. Musically as lyrically, you could often hear me compare YES' Close To The Edge and Museo Rosenbach's Zarathustra because of their philosophical dimension and the fact that both album uses almost the same instruments and this is why i think that Zarathustra is in the end a RPI's Close To The Edge. KING CRIMSON also has to be considered as a notable influence, the heavy use of the Mellotron in Zarathustra reminds the KING CRIMSON's song In The Court Of The Crimson King for its great Mellotron overture, same as Zarathustra.

Other than that, this album is definitely mastered, nothing more to say other than it is nothing but a masterwork that cruelly needs more recognition among Symph' prog fans. 5/5, a f-ing BOMB!

softandwet | 5/5 |


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