Museo Rosenbach - Barbarica (2013)

Artista: Museo Rosenbach
Álbum: Barbarica
Año: 2013
Género: Rock sinfónico / Progresivo italiano
Duración: 41:10
Nacionalidad:Italia

Lista de Temas:
1. Il Respiro del Pianeta
2. La Coda del Diavolo
3. Abbandonati
4. Fiore di Vendetta
5. Il re del Circo

Alineación:

- Stefano " Lupo" Galifi / lead vocals
- Alberto Moreno / bass, mellotron
- Giancarlo Golzi / drums
- Sandro Libra / guitar
- Max Borelli / guitar, vocals
- Fabio Meggetto / keyboards
- Andy Senis / bass, vocals

Un gran trabajo del 2013 que había reseñado pero no habíamos compartido los links, ahora sí disponibles. Una de las bandas dinosaurísticas y de la época de oro del rock progresivo italiano, vuelven los creadores de "Zarathustra" vienen a deleitarnos otra vez luego de su fallido álbum del año 2000. Aquí tienen mi apreciación de este muy buen disco. Y les aviso que hoy tendrán más buen rock progresivo italiano...

Vuelve otra vieja gloria del progresivo italiano de los 70's (en los últimos tiempos tuvimos varias de estas vueltas). La banda que ha sabido consagrarse con "Zarathustra", una de las leyendas italianas progresivas, regresa con nuevo álbum de estudio y con tres de sus miembros originales.
"Zarathustra" fue sin duda uno de los hitos en la historia del rock progresivo, y una obra que fue suficiente para marcar el nombre de esta banda en la sala dorada de los monstruos progresivos.

Aqui tienen una muestra del Zarathustra grabado en directo pero en un estudio, en el 2012:



Una banda que se mantuvo en pausa desde hace casi tres décadas, hasta el lanzamiento de un álbum en el año 2000 que no trajo nada de sonido de antaño. Tiempos pasados no fueron mejores sino distintos y esto se hace patente en esta obra, en el año 2000 se plantaron con una obra diferente a la que podría haberse esperado de esta banda, música evocadora y bastante alejada del progresivo clásico italiano. ¿Quizás en busca de nuevos públicos?.
Trece años más tarde, y con tres de los músicos que participan en el álbum debut (Galifi Stefano, Giancarlo Golzi y Alberto Moreno), la banda anuncia el lanzamiento de "Barbarica", un álbum que intenta rescatar el sonido clásico de hace cuarenta años.
El nuevo álbum evoca escenarios dramáticos, dominado por la evocación de una violencia instintiva a la que es capaz de caer cualquier civilización al involucionar a un estado de barbarie primitiva. La banda cuenta la historia de un mundo destrozado por los demonios de guerra, que no pudo crecer en armonía con la naturaleza (quizás en este unto tenga alguna similitud con el último álbum de La Tulipe Noir). Un mundo que se está perdiendo por culpa de las guerras y los desastres naturales, convertiéndose en inhabitable mientras la gente regresa a los tiempos de la barbarie.

El disco abre con la intención de volver a sonar grandilocuente, pomposo, rescatando el sentimiento del rock progresivo italiano de los años setenta, con todos esos cambios de tempo y timbres cuidadosamente seleccionados para que suene anticuada y renacentista, ya lo largo de los trece minutos de duración, introducen el concepto de disco.
Pero, mientras el disco avanza, aparecen hermosos arreglos orquestales y algunos momentos más poderosos (y con instrumentaciones más virtuosas) más cercanas al heavy progresivo de los años ochenta, otras composiciones maduras y bien armadas, y otras baladas más simples y sin grandes cambios en el estilo del rock progresivo italiano clásico, otros tracks los muestran más enfocados a la influencia del rock sinfónico con un buen trabajo de las texturas y climas creadas por el teclado, o auras de banda sonora. En el cierre se lanzan sin dudarlo a dejarnos una sensación positiva a pesar del dramatismo de la obra, ya que todo se puede cambiar y revertir, mientras seamos conscientes de la necesidad de cambio. Todo depende de nosotros.¿

Vamos con algunos otros comentarios, y creo que algunos no están muy de acuerdo conmigo

MUSEO ROSENBACH es uno de esos grupos italianos que hace 40 años conquistaron la escena rock progresiva con su original y calidosa propuesta musical, convirtiendo su álbum en un álbum de culto para el ferviente seguidor (y coleccionista) del rock progresivo no sólo italiano, sino clásico. Es también uno de muchos grupos que, habiendo desbandado, tras el paso de bastantes años se reunió con la esperanza de revivir lo que quedaba aún de las cenizas, logrando un retorno respetable pero no alcanzando los niveles de calidad mostrados cuando fueron parte de quienes escribieron la historia del género, sino siendo sólo una respetable leyenda en vida que hace música de calidad pero que, francamente, ya no brilla tanto como antes.
En 1973, cuando sacaron su legendario disco "Zarathustra", MUSEO ROSENBACH se había alineado con Stefano GALIFI “lupo” (canto), Enzo MEROGNO (guitarra, coros), Pierluigi CORRADI “pit” (teclados, coros), Alberto MORENO (bajo, piano) y Giancarlo GOLZI (batería). [En 2012, MORENO y GOLZI deciden tocar nuevamente en vivo el mundo de Zaratustra y se dirigen por lo tanto a GALIFI, el cantante “histórico” del grupo. La formación sufre una ulterior transformación; nuevos músicos enriquecen el grupo original para lograr en concierto las mismas sugestiones evocadas en el álbum de 1973. Las guitarras pasan a ser dos y se les confían a Max BORELLI y a Sandro LIBRA, que expresan con su propia personalidad los matices y entrelazados de la partitura; en teclados está Fabio MEGGETTO, que a una sólida capacidad interpretativa suma una competente elaboración de sonidos “vintage”. MORENO decide completar la sección de teclados con intervenciones de melotrón y sintetizador para dejarle el rol de bajista a Andy SENIS que, además de ser un excelente instrumentista, permite a la banda explorar nuevas posibilidades vocales (1)]. Así pues, 40 años después de su debut, MUSEO ROSENBACH se alinea con Stefano GALIFI “lupo” (canto), Max BORELLI y Sandro LIBRA (guitarras), Fabio MEGGETTO (teclados), Andy SENIS (bajo), Alberto MORENO (bajo, melotrón, sintetizadores) y Giancarlo GOLZI (batería).
Lo mejor en este álbum es que es un álbum de 43% de uno de los mejores grupos que vio 1973 y que el 100% de la banda es respetuoso con las formas clásico–ortodoxas del sonido sinfónico italiano. No me parece que por sí sólo el álbum muestre algún nivel de virtuosismo o grandilocuencia particular, pero sí me queda claro que no hay pierde en cuanto al buen sonido de la música. "Barbarica" no me fascina, pues, pero me gusta y me gusta bien.

Alfredo Tapia-Carreto

The album cover pays homage to the band's earlier opus "Zarathustra" and one might expect the music contained here to be a throwback to that great classic of Italian Prog. Think again! This is very modern Prog which will stand comparison with any current band. There's no nostalgic looking back at one's heritage, just fantastic contemporary music with great variety. I don't know "Zarathustra" like the back of my hand but I think that they may reprise elements of the earlier album but I need to listen a few more times to each to be sure. Either way, this is a great effort and I'd even go as far as to say the very best of all the Italian Prog giants' reunions. There have been great recent efforts from Delirium, Le Orme, New Trolls (in several guises), Garybaldi, and Alphataurus (I'm sure there are a few more) as well as fairly recent issues from Banco and PFM, although I have not heard the last two but none have matched the quality of this album (to this listener).
Three guys are present from the 1971 début - Alberto Moreno (bass, mellotron), Giancarlo Golzi (drums) and
Stefano " Lupo" Galifi (lead vocals). The latter still has a wonderful voice and was last heard to great effect on the Il Tempio delle Clessidre album from 2010, where he covered the lead vocalist role only to leave when Museo Rosenbach reformed. I remember seeing a video of the ITDC on YouTube and whilst he sung immaculately, as he does here after all these years, he did look rather old amongst the much younger members - not surprising for a 60-something year old guy. Happily for lovers of first grade Italian Prog he is back amongst friends and performing at the top of his game.
Musically, the album is well balanced, with plenty of light and shade and variance of dynamics. The solos are shared between keyboards and guitar with Hammond organ taking preference over synths which are mainly used in padding.
The whole album sounds fresh and exciting and combining with the excellent mix and audio quality, gives great satisfaction. A great return which will hopefully be followed by more of the same; well, similar at any rate, because no-one wants like for like repetition ..... do they?

Crazyworldof

So, another new contact with an unknown band. Italy has some interesting acts when it comes to power metal and progressive rock/metal as well and Museo Rosenbach is no exception. Very wellplayed progressive rock with lots of variety, very tight playing and great melodies. Except for the progressive rock they do mix in some symphonic parts rather well, and there are actually no weak links whatsoever on this album, which does feel a bit short with it's approx 40 minutes and 5 tracks. Yet this was almost spellbindingly good and enjoyable.

oh6gdx

In the early 70s a group of young and talented Italian musicians came together to form Museo Rosenbach and record an Italian progressive classic, Zarathustra, in 1973. After the release of the album, they essentially disbanded. Then in 2006 Stefano “Lupo” Galifi was approached by another group of young and talented Italian musicians to form Il Tempio delle Clessidre to perform Zarathustra live. Due to the positive response, Museo Rosenbach re-formed in 2012 with core members Lupo (vocals), Giancarlo Golzi (drums), and Alberto Moreno (bass and piano). To round out their sound, they enlisted Max Borelli and Sandro Libra (guitars), Fabio Meggetto (keyboards), and Andy Senis (bass). As their first project they re-recorded Zarathustra live in the studio. During rehearsals, they began composing new material that became Barbarica. There are five songs with Lupo in fine form. Forty years later his voice and the band are just as vibrant as in 1973. The opening song, “Il Respiro del Planeta,” is a majestic example of Italian prog with strong guitar and themes. The second song, “La Coda del Diavolo,” is a quiet but sinister, ballad that opens with violin and halfway through switches to driving guitars, drums, and organ. The third song “Abbandonati” contains tom toms, drones, and a shouted chant reminding me somewhat of Osanna. “Fiore di Vendetta” is lyrical with Mellotron, organ, and guitars, and it rocks! The closing song “Il Re del Circo” opens with flute and guitars and becomes a magnificent close to an outstanding album. This new release will definitely appeal to lovers of 70s Italian prog, as well as new listeners.

Henry Schneider

Their third album and the first studio album for thirteen years. The purists would say this is their second album though, Zarathustra from 1973 being their first/other album. Their Exit album from year 2000 was without Stefano Galifi, the vocalist who makes this band. Something he demonstrates on Barbarica. Museo Rosenbach without Stefano is like a hospital without patients.
Stefano has returned to the band again after his excellent stint with the new, upcoming Italian band Il Tempio Delle Clessidre. A band who took their name from a Museo Rosenbach song and was by all intents and purposes a tribute to Museo Rosenbach. Their album is brilliant, btw. I just needed to get that one into this review. Point made; Barbarica is another great album graced by Stefano's excellent vocals. It is an album who really sets out the Italian symphonic prog agenda. It has tonnes of moog, melotrons and Hammond organs. It also has tonnes of guitars, bass and drums. The music varies between heavy and pastoral lyrical. Between folk and hard rock. Just like a great Italian symphonic prog album. The songs are long too. The music is rooted in the 1970s. The album just clocks in on forty minutes. Just about long enough, in my view.
I really like the songs and I really like the sound. The opening song Il Respiro del Pianeta is the best song on an album which has no weak track and nothing but greatness. Welcome back guys and thank you for this album. I love it.

Torodd Fuglesteg

The title of the new album evokes dramatic scenarios, dominated by an instinctive violence which brings any civilization back to its primitive barbaric state. The band tells the story of a world feeling lost and torn by war demons, unable to grow in harmony with Nature .
In the opening suite, man becomes aware of the environment aldam ages he has caused and decides to look for hope full signs of survival in Nature. The Earth answers back with energy and affection typical of a loving mother. There is a bright hope in our future! However, our existenceisstill full of uncertainties. It is al som orally polluted by fanaticism and hate among people fighting each and losing them selvesin acontinuous escape from pain.
The four songs completing the “fresco” convey, through raw sound, this insane barbaric temptation of solving the global village problems by destroying the opponent.

newprogreleases

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.

Coaset Zombie

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!

Diego Camargo

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.

Paul Fowler

http://vol12.music-bazaar.com/album-images/vol12/563/563409/2402481-big/Barbarica-2-picture.jpg

Comparar este disco con "Zarathustra" es imposible, sobre todo porque la banda está ansiosa por modernizar su sonido, y sin embargo, la zona donde se desarrolla "Barbarica" la hacen una obra equilibrada, bien construida, muestra un buen disco y seguramente de escucha placentera para todo amante del progresivo, ya sea amante del sonido clásico o del moderno, porque se mantiene en el punto de equilibrio entre el sonido de los 70 y las nuevas tendencias.
Sin embargo, tener un nuevo registro de Museo Rosenbach sigue siendo un evento digno de agradecer.
Stefano "Lupo" Galifi aparece maduro como cantante, y junto con los dos guitarristas son la nota positiva del álbum. También es excelente percusión poderosa Giancarlo Golzi, mientras que lagunas de las canciones son excelentes. En general "Barbarica" es sin duda un disco no decepcionará a los seguidores de los oyentes progresivos de toda edad y tendencia musical.

Aquí hay un progresivo muy italiano, bien ordenado, lleno de grandes melodías semi-clásicas, las variaciones en la dinámica, arreglos, y estados de ánimo, pero también enfocado a los sonidos modernos y las nuevas tendencias. Gran trabajo de Museo Rosenbach en su regreso al mundo de los vivos.
No dará para ser un álbum descollante, pero sí es uno de esos discos que se deleitarán al escucharlo.

www.museorosenbach.com
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