All Prog From Italy Appreciation Thread

Review by Cesar Inca
Special Collaborator Honorary Collaborator

Many one-shoot bands from Italy have come to grace and enrich the 70s prog legacy, Museo Rosenbach being among the most celebrated ones. and quite deservedly so. Their "Zarathustra" album is a total epitome of what symphonic heavy prog is all about: mesmerizing organ and mellotron layers in harmony with robust guitar riffs and leads, powerful melodic structures craftily expanded through refined arrangements, a well-ordained sense of the epic, a clever management of the contrasts between the harder and the softer passages. The album's theme is a celebration of free will under the guiding light of Nietzsche's idea of the Superman: the goal is to get rid of the various oppressive moral traditions that have ruled Man through history and conquer a new ideal of freedom, recapturing the real self and achieving a renewed connection with the world around us. Surpassing the energy of New Trolls and predating the punch of Biglietto per l'Inferno, Museo Rosenbach stands out in that special progressive province that took place in Italy. Golzi's solid drumming and Galifi's robust singing are pertinently located in the band's overall sound. The keyboard department has a prominent use of mellotron over the Hammond organ and the Moog synth (the latter being used marginally). This album features one of the most appealing assets in a prog album - a sidelong suite, which in this case is titled like the album. 'Zarathustra' is one of the most prominent Italian prog suites: it certainly combines the drive of Ossana, the stylish splendor of PFM, the magic vibe of early KC and Genesis and the dynamics of Metamorfosi. The suite gets started with delicate flute mellotron soon joined by an overlapping string mellotron and the whole orchestrated band as the fanfare is stated. The first sung motif is delivered with a delicate magnificence that ultimately leads to the first partial finale. Section 2 starts with a mysterious piano prelude (performed by bassist Moreno), which eventually leads to a psychedelic baroque full band endeavor. The addition of some jazzy cadences in the rhythm basis allows the band to create a particular swing, which the band perpetuates in section 3 'Al di là di Bene e di Male'. 'Superuomo' is the longest section, something the instrumentalists take advantage of to display a series of attractive motifs after the brief sung section. 'Il Tempio dell Clessidre' reprises section 1's closure and takes it to an epic dimension, which originates real, frontal progressive beauty all the way to the fade-out. The married organ and mellotron layers are literally unearthly, the guitar soloing is majestic, Golzi's rolls and fills enhance the overwhelming majesty - what a grand finale!, what a suite! This is definitely the album's highlight, but there is still more. and it is great, too. 'Degli Uomini' displays an interesting set of motifs in a Manieristic framework: the song's power is more subtle than patent. 'Della Natura' lasts 8 ½ minuts, which allows the band to explore the melodic variations more loosely. This track really shows the family air that links Museo to compatriot acts Alphataurus and Metamorfosi (perhaps Semiramis, too, but Museo is obviously more polished). The ceremonious moods that fill this song's last few minutes make it quite close to the suite's general undertones. 'Dell' Eterno Ritorno' occupies the album's last 6+ minutes. The opening synth arpeggios state an agile expectation that draws the band close to spacey prog, but soon the effect is retorted by yet another display of heavy prog with featured mellotron/organ. This track is less aggressive than most of the preceding pieces, but the usual references to Baroque and Manierism are obviously present. There is not much that I can really add to all the praise that "Zarathustra" has achieved by prog fans all over the world. I'll just finish this review by asserting my conviction that Museo Rosenbach has created a prog masterpiece.

Darwin! hits the mark with some of the most innovative and experimental RPI

Darwin! Is a real curio from these giants of RPI, their third album following two incredible albums that helped to put Italian prog on the map. Darwin! Is a full blown concept album that centres on the Darwinist belief system or theories of life on the planet, how we came to be here, disregarding creationism, and wholly encompassing ideologies of evolution. Banco thankfully do not attack God as such but take on this evolutionary ideology as a theory of how the earth, the universe was created – by sheer chance. Darwin refuted these ideas on his death bed, nevertheless it is an enticing idea, and I guess an irresistible one that many bands hold to for content. In the case of Banco they feature some interesting lyrical notions on the idea.

Translated they state: Try, try to think a little different, nothing was made by the great Gods but Creation had been created by itself: cells, fibers, energy and heat. The earth is rolling into a cloud swelling, spreading in the heat its limbs the Mother is ready, she will bear she's already bowing her womb, she wants another son and she will have it, son of earth and electricity. Grey coats of lava and coral moist and without colors skies, here comes the world breathing musks and lichens, green earth-made sponges are the hothouse for the sprout that will come.”

So it is evident that judging from the lyrics there is no real attack on creationism, but it is a fanciful notion that Banco are adhering to.

The music is as usual very accomplished ranging from ambient keyboard section and falsetto soft vocals to all out frenetic drumming and erratic keyboards and bass. There are some incredible tracks on this such as ‘La Conquista Della Posizione Eretta’ translated The Conquest of the Upright Position. It is an ambient synth soaked piece and very animalistic in texture and tone, in fact I thought I was hearing animal effects at times. The piece captures a feeling of being lost in a jungle surrounded by primates and only Banco can produce this type of music which is absolutely mesmerising.

'Danza Dei Grandi Rettili' can be translated as Dance of the Large Reptiles and is heavily influenced by jazz overtones with some captivating bass and piano. Indeed it is a soundscape capturing the imagination of when dinosaurs ruled the earth. 

'Cento Mani E Cento Occhi' meaning A Hundred Hands and a Hundred Eyes is one of the masterpieces of the album. The dynamic interplay of keyboards and drums makes for some compelling listening. Francesco Di Giacomo adds his own interpretation of singing, which may be understood as more of a howling sound than actual words but it suits it perfectly. The tribal chanting and African drumming is enough to drag you out of this reality into the warped landscape of Darwin! Indescribable music certainly but it will convert you if you allow it.

'750,000 Anni Fa...L'Amore?' is a very intriguing track centering on the theme of 750,000 Years Ago...Love?. It is a love song of sorts, being a lot more balladic than other tracks and in fact Francesco Di Giacomo tries his hand at some romantic crooning. It is so different than what we have already heard that it comes as a shock to suddenly hear this style, and therefore it is perfectly balancing the frenetic material; chaos has become order for a term at least and we needed it.

'Miserere Alla Storia' is Misery to the History and returns to the highly progressive style with sharp blasts of chords on organ and this is complemented by piccolo and acoustic guitar. On this track the words are half spoken and half sung by Francesco Di Giacomo. Not my favourite track but still a worthy addition to the album and a very similar style to King Crimson.

The final track is a short rocker called 'Ed Ora Io Domando Tempo Al Tempo Ed Egli Mi Risponde...Non Ne Ho!' or you can translate this as And now I Ask the Time to Time and he replies...I haven't got it! Self explanatory really. The track begins with a donkey noise, a violin being dragged across with a bow very slow and creaky, I guess like the creaking floorboards of an ancient house. It is unsettling but once again draws you in patiently. The piccolo chimes in beautifully and Francesco Di Giacomo croons along in a low key style.

And thus ends this incredible album.

This album is one of the master works of RPI without a doubt and deserves a place in history as one of Banco del Mutuo Soccorso’s best albums. The artistry of the band, the virtuoso musicianship is second to none, though this is not my favourite Banco album. That honour has to go to their debut album. However this is highly recommended among the best of the RPI genre.

Banco del Mutuo Soccorso is the debut from one of the most influential Italian prog bands in history. The iconic cover is familiar to prog fans and signifies how important this album has become. Its main power stems from an unprecedented conviction to producing some of the most inventive and complex music, pure innovation on every track and some incredible virtuoso musicianship. The album spawned a plethora of other Italian prog artists hoping to do as well as Banco but succumbing to their sheer progressive spirit. PFM (Photos of Ghosts and Per Un Amico) and Le Orme (Felona E Serona and Uomo Di Pezza) were as influential among others but Banco del Mutuo Soccorso is one of the pioneering Italian Prog bands and their 1972 debut is an incredible triumph. The band perform astounding unified music but one of the main drawcards to Banco is the accomplished vocal prowess of Francesco Di Giacomo. When he sings in Italian it transcends barriers of language as the tone is always upbeat and hopeful. Another drawcard is the astounding keyboard wizardry of Vitorio Nocenzi and Giani Nocenzi who seem to trade off one another on every track to produce a refined beauty that soars and dives across the musicscape.

The opening track is "In Volo" that announces their arrival with flute, spoken word and female choral sections with synthesizer. It is only a taster of what is to come.

"R.I.P. (Reqcuiesant in Pace) is a huge change in direction as the pace quickens and the band go into full flight. Francesco di Giacomo has an incredible vocal range and really shines on this track. There is funked up guitar and some piano fortissimo in this jazz fusion triumph. The symphonic influence is prevalent and the track grinds to a halt and creates an ambience of beauty and serenity. At times the sound is similar to Mahavishnu Orchestra.

"Passagio" features a prelude of piano and is really a transition to the next track.

"Metamorfosi" is next on the menu and is a lengthy progressive masterpiece. The guitar and keyboards are accompanied with some sporadic drumming and there is a frenetic section of electrifying jazz. It soon peters out to a slow droning classical piece that focuses on piano. The peace does not last long as a huge wall of sound is created with chaotic iambic pentameter, arhythmical structures that elicit an alternative anti music sound. All boundaries are broken and the band go into extreme time signature changes. The bass lines and drumming metrical patterns are off the scale. This passage is the band at their best. Then it is bookended by another slow low key ambient section with strong melodies and tonal phrases. This is an incredible track and one of the best you will hear.

Can it get better? It does.... "Il Giardino del Mago" is the opus, and this track has a stamp of authority sending out a signal to all others, declaring the sheer power of Banco del Soccorso Mutuo. The track almost has a running time of 20 minutes. But you will not notice this. It begins with gentle piano that transfixes you and the drums are a constant companion. It takes a series of rapid detours that will astound. It is difficult to know which direction the band will take next on this prog journey. There is an intricacy to the music that is compelling and the song tends to build to a crescendo with a freak out section of keyboards and crazy drumming. This track is worth a listen to the album alone, but there is more to come.

The final hurrah is the outstanding "Traccia" which builds in depth and volume from slow beginnings to prog blasts of staccato piano. The vocals are more choral on this and it kind of says farewell to the album and ends the journey in style.

I think the only thing I can add is that this is the best I have heard from the big three of the band; their first three albums. It is a definitive masterpiece hands down and Rock Progressivo Italiano would be all the poorer without it. Banco became RPI giants after these albums. Their debut is an important album, a quintessential album, a masterpiece.