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Banco Del Mutuo Soccorso - Io Sono Nato Libero CD (album) cover

IO SONO NATO LIBERO

Banco Del Mutuo Soccorso

 

Rock Progressivo Italiano

4.41 | 690 ratings

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AtomicCrimsonRush
Special Collaborator
Symphonic Team
5 stars Banco del Mutuo Soccorso's Io Sono Noto Libero is hailed in the prog world as one of the legendary albums and certainly in terms of RPI it lives up to this reputation.

They have an uncanny ability to include huge sections of tension and release in their music, shades of light and dark that compete with each other, and all is complimented by the gentle vocals of Giacomo.

Canto Nomade Per Un Prigioniero Politico is the opening epic clocking some 15 minutes in length. It begins with a minimalist keyboard that sounds like woodwind oboe perhaps. The trademark vocals chime in gently. There is a short section that is slow and time signatures are ignored. Then it launches into a fast paced rhythm that capitalises on great fat organ sounds and drums and bass constantly bend the metrical patterns sporadically. It consistently builds in power to the huge instrumental break. This slows again to an improv section with the Nocenzi brothers' piano and synth competing with each other locked in battle where there is no winner. A ghostly whine takes the pace down and acoustic picking over a spacey synth. The next two verses are sung until it detours into an ambient passage where a UFO lands, a spacey sound with synth washes, and then it explodes into the bass and keyboard segment. The piano is out of control and the high pitched sounds fight to keep up. Drumming seems to have settled into a 4/4 4/5 pattern but is inconsistent. A strange melody changes the atmosphere and fortissimo guitar and drums create a majestic feel. There are rototoms or tom tom drums at the end of the piece to add a new experience. A wonderful piece of music.

Non Mi Rompete is a very pop orientated sound with multi layered pleasant melodies. This is a more accessible approach and feels like it could be a successful single in some areas of the world. The simplistic approach breaks up the hyper complex tracks very well and it is a good example of the diversity of Banco.

La CittÓ Sottile is a 7 minute track with a focus on staccato piano motifs, and gentle vocals. There are synth swishes and very strange sound effects to create the overall atmosphere of imminent fractured sections. The high pitched synth and Hammond of the Nocenzis generate a cool icy atmosphere and the guitar break compliments this. The piano break heralds a new section with majestic symphonic washes. There is a new detour where the vocals are spoken as a narrative and the piano twinkles while spacey synth merges in. There is no time signature for a moment and then another verse is sung with the estranged melody from the opening. Another triumphant piece from Banco. Dopo... Niente ╚ Pi¨ Lo Stesso is a mini epic at about 10 minutes that features a flute sound that becomes the main motif throughout. The vocals are stronger and darker on this. Of particular note is Todaro's guitar riff that is more aggressive than previous and a welcome change in this respect. I like the almost chanting vocal style of Giacomo and the powerful ambient atmosphere. The piano sounds as though it is being tuned down as Nocenzi plays. The booming bass piano tones are downright chilling. The flute sounds add a pleasantness that is striking but the vocals are estranged and unsettling. The piano is incredible featuring the scales and arpeggios. A narration follows warning of the chaos to ensue. A majestic synth line is struck and the drums begin to add an odd metrical figure. The time sigs are intricate and hard to grasp, but the guitar solo is in 4/4 for a while. The next section is a very fast lead break that is repetitive but intriguing. A medieval harpsichord is heard next in a new section and the vocals are wildly inventive at times like a circus side show host. The bass line becomes very strong at 8 minutes in, and there is a tradeoff of bass and piano. The high pitched flute sound we heard at the beginning returns reminding this we are still on the same track, as it has moved in so many directions we kind of needed this to latch onto it. And then it just fades as a descending sound emanates. A brilliant track on every level.

Traccia II is a short sharp conclusion to this majestic album. The focus is on a piano melody that is easy to remember and almost medieval in style. The instrumental has some beautiful synth passages. It gradually builds to a strong melody that is constant and majestic. The avante garde stately theme is broken by short passages of keyboards played with finesse. It is a grand conclusion to a very impressive influential album.

This is one of the best RPI albums I have had the pleasure to experience.

AtomicCrimsonRush | 5/5 |

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