STORIE INVISIBILI

"Storie Invisibili": The Sonic Soul of Banco del Mutuo Soccorso Between History and Contemporaneity.

Banco del Mutuo Soccorso, the indomitable bastion of Italian progressive rock, delivers to the public "Storie Invisibili" (The Saifam Group, February 28, 2025), a work that doesn't merely serve as another discographic piece, but stands as the crowning achievement of a conceptual trilogy dedicated to human existence. Following the metaphorical journey of "Transiberiana" and the ode to love of "Orlando: Le Forme Dell'Amore," this final chapter delves into the folds of ordinary lives, elevating individual stories to universal mirrors of our era.

Textual Content: Voices from the Shadows, Universal Truths The beating heart of "Storie Invisibili" lies in its profound conceptual matrix, conceived by Vittorio Nocenzi with contributions from Michelangelo Nocenzi and Paolo Logli. The album proposes to give voice to the voiceless, to narrate those "invisible stories that newscasts don't tell." The twelve tracks are lyrical frescoes that interweave personal experiences with historical moments and contemporary themes, demonstrating a rare capacity to connect the micro to the macrocosm.

"L'ultimo Moro dell'Alhambra" is a striking example: the story of the Moriscos' expulsion from 1492 Spain resonates with dramatic topicality, explicitly recalling the situation in Palestine. This isn't mere historical evocation, but a bridge between past and present, a warning about the cyclical nature of human suffering. "Sarà Ottobre" addresses the October Revolution of 1917, not with rhetoric, but through the disillusionment of two young people who see ideals of social justice betrayed by a new, ruthless tyranny. "Studenti" captures the unease and distrust of new generations occupying European universities, a generational cry that finds echo in direct and heartfelt lyrics. "Casa Blu" is a punch to the gut, narrating a Ukrainian's survival under bombardment, making the listener participant in an ongoing tragedy. "Il Mietitore" is a hymn to the dignity of agricultural labor, highlighting the struggles of those who feed the world. Finally, "Capo Horn" closes the album with a powerful metaphor of the unknown and Dante's "mad flight" toward knowledge, a call to exploration and transcendence of human limits.

Vittorio Nocenzi's vision is clear: art must be a "megaphone" for marginalized causes, a rebellion against the commodification of the soul and obsession with crime news. The lyrics aren't merely narratives, but philosophical declarations promoting a "new Humanism," repositioning the individual at the center while critiquing biased information management. This textual depth elevates the album beyond mere entertainment, transforming it into social and philosophical commentary of rare lucidity.

Sonic and Stylistic Content: The Evolution of Banco's Prog Stylistically, "Storie Invisibili" sits firmly within the Progressive Rock genre, but with a maturity that balances the genre's intrinsic complexity with renewed immediacy. The choice to restore the "dual keyboard" configuration, with Michelangelo Nocenzi alongside his father Vittorio, is a crucial stylistic element. This configuration isn't mere nostalgic recall, but a functional choice that enriches the album's harmonic and timbral fabric, allowing intricate overlays and instrumental dialogues.

Vittorio Nocenzi's keyboards are, as tradition dictates, the sound's fulcrum. His masterful use of piano, Moog, and Hammond organ creates symphonic atmospheres, virtuosic passages, and enveloping sonic carpets. Tracks like "L'Ultimo Moro Dell'Alhambra" and "Sarà Ottobre" are true progressive gems, rich with ideas and nuances, featuring rhythms that accelerate and transform. Michelangelo Nocenzi, described as his father's "musical alter ego," contributes a fresh touch while remaining deeply rooted in Banco's DNA, ensuring both continuity and innovation.

Tony D'Alessio's voice is another pillar. His performance is excellent, expressive and capable of conveying the texts' intense emotions. Although D'Alessio suggested more "immediate" and "accessible" language, the album doesn't renounce musical complexity. This apparent contradiction reveals a sophisticated strategy: making profound conceptual themes accessible to a broader audience without diluting the sophistication that defines Banco.

Filippo Marcheggiani's guitar distinguishes itself through expressive work, with incisive riffs like "Il Mietitore" and guitar inlays supporting the melodies. The rhythm section, composed of Marco Capozi's bass?an "impeccable metronome"?and Dario Esposito's drums, influenced by Jazz and Electronics, proves a "winning card" in enriching tracks with dynamic and innovative pulsations.

The album presents a variety of compositional approaches: from more direct songs like "Studenti" to atmospheric and moving prog ballads like "Il Pittore" and "Solo Meraviglia." "La Casa Blu" shows an incursion into more pop sonorities, but always with elegance and sophistication that maintain firm progressive identity. "Spiegami Il Cielo" exemplifies a highly intricate and virtuosic piece, with impactful instrumental digressions demonstrating the band's professionalism and executive mastery.

In summary, "Storie Invisibili" is a work that consolidates Banco del Mutuo Soccorso's position as a vital and innovative force in the progressive landscape. Through masterful fusion of profound lyrics and rich, dynamic instrumentation, the album not only closes a trilogy with coherence and mastery, but establishes itself as a "masterpiece" that continues exploring the genre's boundaries, demonstrating that Banco is, and remains, "Un'idea che non puoi fermare."

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