j o n b

The Italian prog scene is the one "foreign" prog hotbed with which I have had any real contact. During my explorations of Italian prog, the name Banco kept coming up over and over again. It took two tries before I finally got my hands on one of the band's more renowned albums in its original form (I got the redone version of the band's self titled debut album a little while ago). After a few listens, I fail to see what all the hype is about. Darwin! is full of wonderfully proggy stuff, as you might expect from an album recorded deep in the middle of the genre's golden age. Occasional influences pop through here and there without ever being derivative or cliched. The sounds are lushly symphonic, with rich keyboard textures providing a foundation for instrumental and vocal flights. In fact, as Italian vocalists go, Francesco di Giacomo is neither as operatic nor melodramatic as some of his comrades. Unfortunately, to me, the songs themselves often don't really stir anything inside me. They wander about instrumentally and at times almost become a prog parody (as if you can say, "see, that's prog!"). Bits and pieces stand out but never really combine to form a satisfying whole. It's all accomplished with a lot of skill, but it possesses neither the lyrical beauty of early PFM or the intense complexity of Deus ex Machina. In the end, I can see why Darwin! appeals to a lot of people. I find a lot of it appeal myself. I really wanted it to grow on me and find some immense enjoyment in the album. A few momentary delights, however, is all I really found. review by Jon Byrne — undated —

c o n r a d

Of the "Big Three" of Italian progressive rock (Le Orme and Premiata Forneria Marconi being the other two), Banco are definitely the most manic. This impression is reinforced by Francesco Di Giacomo's histrionic vocals. I can see why people describe his voice as operatic, but the timbre of his voice has more in common with Bruce Springsteen than Luciano Pavarotti. The other reason for Banco's manic sound is the presence of two keyboards. This can give a very cluttered sound that takes a while to get used to. The sound for this album recalls the usual suspects for Italian progressive influences, especially ELP and Genesis, though there are also foreshadowings of the mood Rick Wakeman was to later create on The Six Wives of Henry VIII. The band jumps from style to style on this album and even branch into jazz for "Danza Dei Grandi Rettili". In spite of this, they seem equally at home playing the "Return of the Giant Hogweed" inspired conclusion to "Cento Mani E Centi Occhi", the carnival waltz "Ed ora Io Domando..." or the melodramatic ballad "750,000 Anni Fa...L'Amore". There are a number of drawbacks with this album. It has a few flat spots, "L'Evoluzione" probably being the main offender with a couple of uninspired sections. That said, every song has something to offer in at least one part of it. This is not the easiest of the Italian albums to listen to. There are a number of things in Banco's approach that take a little time to acclimatise to, the vocals not being the least. Once these hurdles have been overcome however, this is a worthwhile listen. review by Conrad Leviston — 3-5-03 —

s e a n

The second album of Banco del Mutuo Soccorso is a concept work based on the scientific work of Darwin. Various songs treat topics such as evolution, natural selection, rejection of Creationism, etc. The entire thing is in Italian, of course, so many will have no idea what is being expressed anyway. Banco's music is generally notable for two things; Vittorio Nocenzi's mastery of multiple analog keyboards and Francesco di Giacomo's operatic vocal stylings. There is less of the sometimes syrupy balladry of the first album, as the mood generally stays less romantic. There are more sections similar to the instrumental workout in "Il Giardino del Mago"; the opening attack of "Miserere Alla Storia", the fanfare of "Cento Mani, Cento Occhi" and di Giacomo's ranting in "Evoluzione" come to mind. The sound quality of this album is not always perfect, but the rough edges in this case seem to add to the power and mood, whereas I found them sometimes distracting in the case of their first album. Darwin! is one of the most important Italian progressive rock releases, demonstrating Banco's continuing evolution as a band mixing Italian operatic touches with symphonic progressive rock. Recommended to any newcomer to Italian prog. review by Sean McFee — undated —

j o e

One of the finest albums by a band that is definitely in the upper-echelon of classic Italian prog. This concept album on evolution starts off, appropriately enough, with the fourteen-minute "L'Evoluzione." The song begins with moderate pacing, Hammond organ and ringing piano chords musically recalling Van Der Graaf Generator circa Godbluff, and soon launches into an ELP-like (in Tocatta mode) assault with vicious Hammond stabs, swooping moog lines, and ferocious drumming. Keyboardist Vittorio Nocenzi composes with an advanced sensibility (i.e. Gentle Giant or Emerson), not settling for major triads or open tonalities, but still never loses an iota of emotional connection. And this is not to say that Banco are derivative of the above bands I've mentioned. They are pretty much their own. Van der Graaf would not do the smoky, lilting jazz of "Danza dei Grandi Rettili." Nor could ELP pull off the sad carousel-waltz, "Ed Ora Io Domando Tempo...", that closes the album (reminds me of the closing of Fellini's 8 ½, where the protagonist wearily dances around and around in a circle with his friends and lovers). Throughout, the musicianship and music itself is excellent and as "prog" in the most basic recognized sense of the word as you can get. The only thing I can think of that one might not warm up to is the vocals, but at least the singer is definitely giving it his all. You'll probably have to play this album several times before it begins to hook you. But it will hook you. review by Joe McGlinchey — undated —

m a t t

With their second album, Banco increased the scope of their sound and more properly became the symphonic prog band that they are remembered as. Some of the aggression and tightness of the debut album is lost in the process, though, and while the best parts of Darwin interest me as much as my favorites from the debut, I find this album to be more uneven and not quite on that level, though I still think it's very good overall. I like the two lengthy pieces that comprise what once was the LP's first side: "L'Evoluzione" and "La Conquista Della Posizione Eretta." They don't impress me like the best of Genesis, Yes or Gentle Giant, but they hold their own. The contrapuntal keyboard passages that creep in from time to time suggest a Gentle Giant influence and keep the more spacious music from drifting into symph-prog cliché. I'm not as enamored with a lot of the music on the flip side, however. The songs tend to be slower and Francesco di Giacomo's vocals are more emotive and drawn-out. It might help if I understood the Italian lyrics, but considering that this is a concept album about the process of evolution and the life of Charles Darwin, perhaps it's for the best that I don't know. "Danza dei grandi rettili" is a competent stab at jazz, though, and the album finishes with a nice waltz. review by Matt P. — 7-2-05 —

e r i c

Ah, at last my first taste of the legendary Banco. The band conjures many sounds, from ELP, Floyd, Crimson and Genesis, yet retain a very original sound. My favorite parts are the softer piano passages. The band shows off its classical bent about 10 minutes into "L'Evoluzione" with piano, organ, and vibes all neatly arranged. We are treated to some excellent Hammond workouts, and a flair for symphonic passages is displayed. Some forceful keyboard soloing and a spooky theme dominate "La Conquesta Della Posizione Eretta". The band gets into a jazz mode during "Danza Dei Grandi Rettili", showing a vast spectrum of influences. A very traditional Italian arrangement with harpsichords and accordion float through "Ed ora..." and provides an interesting musical twist bringing the CD to a close. Is anyone reminded of Genesis' "Return of The Giant Hogweed" in "Cento Mani E Cento Occhi" during its closing minute? If not, listen to the piano part and the mood. I really am impressed with the piano and keyboard work; and as has been stated by other reviewers, I find little problem listening to the vocals in Italian. I plan to delve further into this band's catalogue, another band that has taken me too long to become acquainted with. If I only had more money to buy all this great music... review by Eric Porter — undated —