Banco del Mutuo Soccorso - Darwin! (1972)

#Músicaparaelencierro. Fue elegido en el año 2000 por el sitio Gnosis entre 60.000 candidatos como el mejor de los discos de rock progresivo/experimental grabados hasta entonces, eso le da toda una chapa porque para muchos sobresale incluso por entre los mejores. En este disco, los músicos de Banco del Mutuo Soccorso ofrecen una inteligente combinación de música clásica, rock, y jazz. Y así, volvemos al rock progresivo italiano que queremos tanto, que es como nuestro primer amor, algo que nunca podemos olvidar mientras estemos vivos. Y ahora, nada más y nada menos que reviviendo el maravilloso "Darwin!" que nos acompañará hasta la tumba... y quizás también más allá.

Artista: Banco del Mutuo Soccorso

Álbum: Darwin!
Año: 1972
Género: Progresivo italiano
Duración: 46:47
Nacionalidad: Italia

¿Vieron cuantas entradas hay en el blog cabezón de bandas italianas? Cuenta la leyenda que el oído argentino se asemeja a esta forma de encarar la música, tan melódica y emocional, porque está en sus genes y en su sangre, y por ello mucho del progresivo que se hace en estas tierras se emparenta mucho con el progresivo italiano: La Máquina de Hacer Pájaros, Pablo el Enterrador, Hábitat, Aireliquido, Almendra, Akenathon, Altablanca, etc. grupos de ayer y hoy que toman de las fuentes del progresivo italiano que tan bien nos hace al alma.

La primera vez que escuché este álbum quedé bastante sorprendido. La segunda, quedé aún más sorprendido. Ahora me encuentro haciendo este pequeña presentación mientras lo escucho por enésima vez, y aún me sigue sorprendiendo. No me es difícil concebir por qué esta joya progresiva se ha ganado el status de ser un álbum de culto, pues BANCO logra transportar al oyente por un caudal de emociones como pocos pueden. Segmentos épicos, melodías melancólicas y bellas, influencia jazzera, sinfónica y rockera, complejidad y sensibilidad son protagonistas en Darwin! Altamente recomendado.

Bowman
 


Alguien había pedido algún disco de Banco en la lista de correo y José, que no puede ver a nadie sin su caramelito musical, nos lo trae a colación. Excelente disco, por cierto.

Otra de las grandes bandas del preciado RPI (Rock Progresivo Italiano) es sin dudas Banco Del Mutuo Soccorso. Junto a bandas como Premiata Forneria Marconi (PFM), Le Orme, Area, New Trolls, Museo Rosenbach, Il Rovescio Della Medaglia, entre muchas otras màs, contribuyeron como respuesta al genero sinfónico progresivo británico (Yes, Genesis, Pink Floyd, ELP, etc.) tan de moda de los años 70´s. Injustamente, Banco no gozo de tanto éxito a nivel popular y fuera de Italia como PFM (con quienes luego compartiría el sello Manticore Records) pero ha dejado una importante huella en el genero, como así también obras maestras (y de concepto) inolvidables como el presente "Darwin!" o "Come in un'ultima cena" de 1976 que luego fue grabado en ingles como "As in a Last Supper", por nombrar tan solo otra. Musicalmente están mas cercanos a ELP con un nivel compositivo impecable y obviamente gracias a el gran virtuosismo de sus músicos, como el genero bien lo demanda. Otro aspecto significativo, cabe señalar es  que la banda en su sonido encierra toda la sensibilidad mediterránea y las diversas tradiciones académicas y melodramáticas italianas, sumadas a el momento histórico al que responden muchas bandas del progresivo sinfónico, creando una mixtura exquisita y única en su estilo.
Banco se origina en Roma, en 1968 cuando el pianista Vittorio Nocenzi llama a su hermano y también tecladista Gianni, al guitarrista Franco Coletta, al bajista Fabrizio Falco y al baterista Mario Achilli para una prueba de audición para la RCA. Así se quedaba formada la primera alineación de BMS. Después, ya entrados los años 70´s durante el segundo Festival Pop de Caracalla celebrado en Roma, los hermanos Nocenzi se hicieron de los servicios del guitarrista del grupo Fiori Di Campo, Marcello Todaro, del vocalista Francesco Di Giacomo, del bajo de Renato D'Angelo y del bata Pierluigi Calderoni que habían tocado para el grupo Le Esperienze. Así poco tiempo después grabaron su primer LP homónimo, "Banco Del Mutuo Soccorso", excelente carta de presentación de la banda que no quería perder el tiempo en dar a conocer sus intenciones. Un tema memorable de aquel disco seria por ejemplo "R.I.P. (Requiescant in pace)" Tal fue su aceptación que pocos meses después graban para el mismo sello Ricordi su segunda placa "Darwin!" uno de los primeros trabajos conceptuales de el rock italiano. Ahora si, con serias intenciones, inspirándose en Charles Robert Darwin y su teoría de la evolución de las especies, aparecida en su obra "El origen de las especies"(1859). La banda hizo evidente su visión marxista de la historia. Pues los miembros de Banco, en 1972, eran miembros del PCI (Partido Comunista Italiano).
"Darwin!" comienza con la ambiciosa "L'Evoluzione" una especie de mini suite de casi 14 minutos. Una genialidad, exhibe cual es la esencia sinfónica progresiva de la banda en formacion: estructuras que se rompen constantemente y mucho cambio de tiempo y compás. Los hermanos se lucen con todo instrumento de teclado que podían tener a mano, desde hammonds y sintetizadores hasta el uso de gran piano y sobretodo el clavicémbalo. El comienzo de "L'evoluzione" tan rítmico y característico, nos eriza la piel con unos acertados punteos de guitarra que recuerdan mucho al "Echoes" de Pink Floyd salido un año antes. Luego la voz de Di Giacomo impregna todo, para ya adentrarnos a una incandescencia sinfónica progresiva única hasta entonces. Y allí esta la postura de Darwin y de BMS sobre la evolución. Ya desde canto inicial y único de Di Giacomo que dice: "Pruébalo, prueba, intenta pensar un poco diferente, ninguno de los grandes fue fabricado. Pero la creación ha sido creada por sí misma: células, fibras, energía y calor!!...". Y luego, mas tarde, por supuesto, la contraposición a "el gran libro": "...Y si en el fósil de un cráneo atávico se redescubren formas que se parecen a mí, entonces Adán ya no puede existir...solo siete días son pocos para crear... Adán ha muerto y mi Génesis no son hombres, sino cuadrumanos.". Esa furia sinfónica progresiva, sin dudas termina de explotar con la mas que excluyente "La conquista della posizione eretta". Sublime pieza en donde el papel de la música es el total protagonista. Solo nos resta escuchar el precipitado, incidental y turbulento comienzo, con sonidos que parecen instantáneamente contener y atesorar imágenes de un primate evolucionando a medida que transcurren los minutos de la canción.  "La conquista della posizione eretta" no es otra cosa mas que la metáfora del esfuerzo de la naturaleza humana por alcanzar su propio estatuto: "...si la curva es mi espalda, podría jalar mi cuello sobre las hojas y mantener el cuerpo opuesto al viento. Intento y me caigo y trato y me mantengo... por un momento...". Después de casi 6 minutos de pasajes instrumentales, destacándose las cortinas de teclados y buenos fraseos de guitarra de Todaro, pero sobre todo el timbal Pierluigi Calderoni que pese a que son fugaces los toques de el mismo, están tan sublimemente colocados y tan ligados al concepto, que merecen todos los aplausos, aparece la voz de Di Giacomo. Mientras va cantando las estrofas va subiendo de tono hasta que un repentino viento la hace desaparecer (el viento se oye realmente).
Momento sumamente jazzero supone ser la "Danza dei grandi rettili" ("Danza de los grandes reptiles"). Instrumental con algún que otro guiño a Jethro Tull. "Cento Mani E Cento Occhi" comienza con furiosos sintetizadores. El tema oscila entre el virtuosismo de los teclados y varios fragmentos de improvisación. Se centra en la creación y el comportamiento de las comunidades primitivas: "La presa es tuya y por lo tanto, tuya es la comida. Cien manos es mi fuerza... Y cien ojos nos hacen guardia..."
Otro momento álgido de "Darwin!" es la bellísima elegía, "750.000 anni fa...l'amore?". La operística voz de Francesco acompañada por el monumental piano de cola de Gianni Nocenzi, es de lo mejor que canta en todo el álbum. Esta intensa balada de costado romántico escapa de las convencionalidades de las mismas, ubicandolas en el plano conceptual que el álbum requiere: "Cuerpo que yace a la sombra de las caderas anchas en las que habito. Estoy aquí para verte que me posees y te poseo... Pero realmente soy un mono sin razón, sin razón, sin razón, en una estampida de monos. Un mono, un mono sin razón que huye, que huye..." Llegando al final... "Miseria de la filosofía" (Marx), "Miseria del historicismo" (Popper). Y aquí "Miserere alla Storia", BMS nos regala una pieza apocalíptica, como lo es  "Miserere Alla Storia". El tema comienza como si viniera continuado de otro y, muy caótico, para amansarse dando lugar a una extraña sección de clarinete,  guitarra acústica y teclados. Hasta que irrumpe la voz de Di Giacomo en plan diabólico dejando mucho que pensar en su cita: "Gloria a Babel!! la Esfinge se ríe por milenios. Se fabrica en el fino cielo Sirio, espuma de los caballos en la Vía Láctea, pero ...¿Cuánta vida tiene todavía tu intelecto? ¿si detrás de ti desaparece tu raza?. Luego la canción se torna en un rock ligero para que en la coda haya otro pasaje de misteriosos clarinetes. El final lo señala "Ed Ora Io Domando Tempo Al Tempo Ed Egli Mi Risponde ... Non Ne Ho!" ("Y ahora le pregunto el tiempo al tiempo, y el me responde... No lo tengo!") que comienza con un ruido de silla mecedora rechinante, para darle paso a una melodía de tono gracioso con aires a feria o a kermese. Se destaca una vez mas la ejecución del clavicémbalo en manos de Vittorio Nocenzi. Esta pieza deja una impresión mucho mas positiva que su predecesora. Representa la moral y menciona quizás otro paso de la evolución ya que repite varias veces a "la rueda": "La rueda pesada gira fuertemente, lento en su fisgoneo... La rueda va... el golpe nunca lo pierde... Ah rueda gigante!!... Entonces, ¿por qué piensas en mí? Si en tu girar mi mente entonces frenará..."
Excelente album de culto, de los favoritos e imprescindibles de los fans del genero. Para el oyente desconocedor de el rock italiano de los 70´s , seria un puntapié ideal para introducirlo en el genero y atraparlo para siempre. Forma parte de la trilogía obligatoria de Banco que comenzó ese mismo año con su debut discográfico "Banco Del Mutuo Soccorso" y cerró al año siguiente con el gran "Io sono nato libero" (1973). "Darwin!" fue elegido en el año 2000 por el sitio Gnosis entre 60.000 candidatos como el mejor de los discos de rock progresivo/experimental grabados hasta entonces. Luego de cumplir 40 años, en 2013, se realiza el proyecto "Darwin l'evoluzione?" ("¿La evolución de Darwin?") utilizando el álbum original como banda sonora, representada por 145 artistas de todas partes de Italia con una ópera rock inspirada en la prehistoria. Banco continuo en carrera durante las siguientes décadas, dejando en el camino a varios integrantes y grandes trabajos como "Garofano rosso" (1976) o el último de estudio y en vivo el doble "Nudo" (1997). El carismático Francesco Di Giacomo supo también dar a conocer sus dotes como actor de reparto, por ejemplo en la famosísima película "Amarcord" (1973) ("Mis Recuerdos") de su amigo y director Federico Fellini, aparece como guardia de seguridad en la parte del "Grand Hotel de Rimini". Ya había aparecido años antes en tres films mas del monumental Fellini: "Satyricon" (1969), el documental "I Clowns" (1970) y "Roma" (1972). Su voz se extinguió para siempre el 21 de febrero de 2014 en un accidente de transito mientras conducía su automóvil en la localidad de Zagarolo, en Roma. Tenia 66 años. El funeral, con un rito de laicos, tuvo lugar en el Palazzo Rospigliosi. Actualmente Banco continua en actividad siendo el tecladista Vittorio Nocenzi el único miembro original de la banda.

Alvarus

Los italianos, bien marcados en su estilo, muy melódicos, con estructuras que mutan constantemente, mucho Hammond y sintetizador, mucho cambio de tiempo y compás; sonidos clásicos pero sobretodo muy emocionales, drámaticos, como unos VDGG pero cantado en italiano.

Ciertos países, ciertas regiones, por algún motivo, mantienen el monopolio del Rock. Cuando uno piensa en Rock and Roll, le vienen a la cabeza músicos americanos; si piensa en Rock Progresivo, pensará en músicos ingleses; si piensa en Black Metal, se acordará de los países nórdicos, y así sucesivamente. Pero cuando uno piensa en el Mediterráneo, le vienen a la cabeza el aceite de oliva, el buen vino y el sol, y poco más. Craso error.
Sin llegar a las grandes alturas de Yes o de Genesis, en Italia se han facturado grandísimos grupos de Rock Progresivo, fuertemente influenciados por sus compañeros ingleses pero con un carácter único y elementos inéditos en el género, como la influencia de la ópera. Desde Le Orme hasta Area, Italia, también en la música, se caracteriza por una exquisitez y un eclecticismo que ya nos vendrían bien aquí. Los Banco del Mutuo Soccorso eran uno más en la variada escena musical de la época, pero con una capacidad tal de hacer buenos discos (porque al final eso es lo que cuenta) que los distanció del resto en sobremanera.
El disco que nos ocupa, “Darwin!”, el segundo en su discografía, es una pieza fundamental para entender bien el género: cambios de tempo, mucha experimentación, variedad de instrumentos y canciones largas. Su temprana fecha acentúa su mérito, obligatorio de reconocer, y lo coloca entre los grandes del género, en su mayoría reseñados en esta sección.
“Darwin!” es ante todo un álbum conceptual, centrado en nuestro planeta y en el evolucionismo del famoso científico homónimo. Las letras están en italiano, pero lo que realmente hace único este plástico son sus desarrollos instrumentales, con protagonismo del teclado, el órgano y el piano. Estos instrumentos los tocaban los hermanos Nocenzi, verdaderos pilares de la banda en su época dorada. La gran voz de Di Giacomo, muy operística, adorna el plástico en sus partes vocales y le da un toque de sentimentalismo -en el buen sentido- muy envidiable.
El disco ofrece momentos para todo; la épica de “Cento mani e cento occhi” (ojo a las guturales del final), el jazz de “Danza dei grandi rettili” (bastante popular en Italia), o la delicia de “L’evoluzione”, que supura influencias por los cuatro costados… todos los temas, todos, mantienen el nivel y ganan con las escuchas.
La producción, a cargo de Dischi Ricordi -no confundir con el sello homónimo que edita música clásica- no es nada del otro mundo, pero en ningún momento empequeñece el gran trabajo de los músicos. No estaría de más que se hiciera una buena reedición que llegara a estas tierras… me consta que hay una de 1991, pero es limitada y el sonido tampoco es que mejore mucho. Por pedir que no quede.
La banda, todavía activa, ha cambiado de miembros constantemente, pero sin Todaro a la guitarra y sin uno de los hermanos Nocenzi, Gianni, que se lanzó a una carrera en solitario, la banda vive de recopilatorios, directos recuperados y demás material inédito de sus primeros años.
En resumidas cuentas, un discazo tremendo de una banda que mereció muchísima mejor suerte.

Jaume MrBison


BMS surge a principios de los años 70s con un disco de nombre homónimo a la banda, "Darwin" viene a ser su segundo disco y conecptualiza obviamente la obra del genio Charles Darwin y su teoría de la evolución. Pero para comentarios del disco mejor les dejo este que yo no voy a poder escribir con tanto detalle:

Vuelvo escuchar íntegramente Darwin! de Banco del Mutuo Soccorso después de un tiempo, cayendo en la cuenta que en el 2012 se cumplen cuatro décadas de este álbum imprescindible del rock progresivo. BMS se formó en Roma en 1969 y, junto a Premiata Forneria Marconi y Le Orme, fue parte de la primera generación de grupos italianos de progrock. Como la mayoría de bandas progresivas, BMS concibió Darwin! como un disco conceptual, cuyo eje era la evolución de las especies y la aparición del ser humano. Pero junto al deseo profeso de cantar al milagro de la evolución, BMS hizo evidente su visión marxista de la historia. Pues cabe resaltar que los miembros de Banco del Mutuo Soccorso, de 1972, eran de PCI.
¿Fue extraña la aparición de bandas progresivas y experimentales en Italia? No. Grandes compositores de la postvanguardia italiana como Luigi Nono, Luciano Berio, Bruno Maderna, entre otros, ya eran iconos culturales para los jóvenes músicos de fines de los años sesenta e inicios de los setenta. Y fue precisamente en Italia donde surgió el Estudio de Fonología Musical de la RAI, en Milán. Fundamental para la indagación sonora de esos años posteriores a la vanguardia. Así, grupos como BMS, pudieron caminar sobre un camino afirmado por músicos de primer nivel.
Darwín! contiene siete canciones de textos particularmente inspirados. Sobre todo la bella balada 750.000 anni fa...l'amore?, donde la intensa voz de Francesco de Giacomo canta:

Corpo steso dai larghi fianchi
nell'ombra sto, sto qui a vederti
possederti, si possederti... possederti...
(Cuerpo que yace a la sombra
de las caderas anchas en las que habito.
Y estoy aquí para verte que me posees y te poseo)

Y más adelante, el homínido humano que a pesar de su animalidad exclama su condición de "lóbrego mamífero":

ma chi son io uno scimmione
senza ragione senza ragione senza ragione
uno scimmione fuggiresti fuggiresti
uno scimmione uno scimmione senza ragione
tu fuggiresti, tu fuggiresti....

(Pero realmente soy un mono
sin razón, sin razón, sin razón,
en una estampida de monos.
Un mono, un mono sin razón
que huye, que huye...)

750.000 anni fa...l'amore?, Darwin!, 1972. Banco del Mutuo Soccorso
Y llegamos a otras de la cimas de Darwin!, La conquista della posizione eretta. Metáfora del esfuerzo de la naturaleza humana por alcanzar su propio estatuto. Aquí la música hace su trabajo. Es realmente notable observar como BMS logra describir los tiempos en el tiempo.

Steli di giunco e rughe d'antica pietra
odore di bestia orma di preda
nient'altro vede il mio sguardo prono
se curva è la mia schiena
Potessi drizzare il collo oltre le fronde
e tener ritto il corpo opposto al vento
io provo e cado e provo
e ritto sto per un momento
L'urlo rintrona per la volta tutta
fino ai vulcani sale e poi resto a guardare
e bevono i miei occhi i voli i salti
le mie foreste e gli altri.
E dove l'aria in fondo tocca il mare
lo sguardo dritto può guardare.

Miseria de la filosofía (Marx), miseria del historicismo (Popper). Y aquí Miserere alla Storia. Lenguaje oculto, metáforas propias de músicos que saben leer y comprender otras cosas. !Qué lejos estamos de músicos así en el Perú! . Así se lee en el verso final: il tuo intelletto se dietro a te scompare la tua razza ?. Y si intelecto desaparece detrás de tu raza? . Gran verso antifascista por todos lados.

Ricardo Falla Carrillo

La esencia de la banda en esta gloriosa época consistía en una amalgama perfecta de elegancia y extravagancia: se podía advertir, de forma relativa, las conexiones con referentes foráneos como ELP, Gentle Giant y Genesis, pero sin duda que este grupo enarbolaba orgullosamente la bandera de la sensibilidad mediterránea y las diversas tradiciones académicas de su madre patria, además de un prototipo muy personal en lo que se refiere a su posicionamiento específico dentro de la escena progresiva del momento. Como verán, este disco da mucho para cortar...

Tan solo transcurridos unos meses de la edicion de su album debut, BMS edito para Ricordi su segundo album titulado "Darwin", un trabajo conceptual, mencionar que fue el primero que se hacia en italia, basado en la obra de Charles Darwin sobre la evolucion humana.
... y quizas la corta distancia entre el homonimo y este hace que el disco sea tan bueno como el primero.
El album es abierto por (1) "L'Evoluzione", casi 14 minutos de puro extasis progresvo y sinfonico, guitarras, piano, teclados en plan emerson, mellotron en plan emotivo y todo quizas oscurecido por la soberbia voz de Francesco Di Giacomo que "lo llena todo" con ese tono operistico y carga de sensibilidad. Le sigue (2) "La Conquista Della Posizione Eretta" un tema predominantemente instrumental donde el piano suena muy clasico y donde hallamos fragmentos de las primeras referencias al Bolero de Ravel, las cuales se repetiran en albums posteriores.
(3) "Danza Dei Grandi Rettili" es un corto instrumental de tono jazzy con predominio de piano que da paso a (4) "Cento Mani E Cento Occhi" un tema cambiante que va desde fragmentos de teclados emersonianos, fragmentos de improvisacion y locura instrumental, el canto de Di Giacomo y para finalizar un largo instrumental en plan energico.
(5) "750,000 Anni Fa ... L'Amore?" es bajo mi opinion uno de los mejores momentos cantados de Di Giacomo (no el unico) acompanyado del piano de cola.
(6) "Miserere Alla Storia" entra con flautas misteriosas y la voz de Di Giacomo en plan Devil Doll, para entrar seguidamente en un fragmento de rock rapido y alocado, roto por un pasaje instrumental y un gran final de flauta en tono de musica clasica. Acaba el album con el tema (7) "Ed Ora Io Domando Tempo Al Tempo Ed Egli Mi Risponde ... Non Ne Ho! con toques de clavicordio.
Darwin es el perfecto album para introducir a un foraneo o desconocedor del rock italiano de los 70's y engancharlo para siempre. Este album es un derroche de emociones, romanticismo, cambios de humor y sobre todo de ROCK PROGRESIVO Y SINFONICO. y no quedo aqui la cosa...

Juan

Con todo lo que les dije, los comentarios de terceros y los videos, lo siguiente no hace falta, pero yo lo traigo igual, aquí tienen algunos comentarios en inglés...

Darwin! will remain Banco del Mutuo Soccorso's masterpiece. This album, the band's second, is the proud equal of Premiata Forneria Marconi's Per Un Amico and Le Orme's Felona e Sorona in the Italian progressive rock hall of fame. In Darwin!, every promise made by Banco's eponymous debut was realized. Vittorio Nocenzi's writing has flourished into complex songs blending Italian songwriting, bel canto, and progressive rock. The arrival of guitarist Rodolfo Maltese crystallized the band's luxurious sound, all topped by Francesco Di Giacomo's operatic vocals. The majestic "L'Evoluzione" opens the album, providing some of the best moments ever recorded by this band (along with "Canto Nomade per un Prigioniero Politico"). "La Conquista Della Posizione Eretta" ("The Conquest of the Wrong Position") reproduces the same pattern as "Metamorphosi" from the first album: a frenetic instrumental theme, scaled down toward the end to let room for a very emotional verse. "La Danza de Grandi Rettili" is a rare jazzy number. Di Giacomo shines on "750,000 Anni Fa...L'Amore?," a heart-wrenching ballad much closer to Italian pop music than progressive rock. The album comes to an end with "Ed Ora la Domando Tempo al Tempo," a short piece inspired by merry-go-round music. The original version of the album bears a cover with a pocket watch. Never satisfied with the sound quality of the original tapes, the band re-recorded the whole album in 1991 and issued it with blue cover artwork. Purists turned their back on this new version, but it is actually very well performed, even though it has lost the vintage 1970s Italian flavor. The original Darwin! was eventually also reissued on CD.

François Couture

The perfect mixture between complex and beauty. The best of BANCO, a superb album. Incredible instrumental richness, lots of variations, very expressive voice, long epic tracks and beautiful short songs, all in the same bag. This stuff is the pearl of the great BANCO's trilogy (the first three albums they edited), and deserves a privileged place in a serious prog discoteque. One of the Italian monsters, highly recommended!

Marcelo Matusevich

A great epic journey by this well respected legendary Italian progressive rock. "Darwin" was BANCO's 2nd release and is certainly one of their most complete works of art. "Darwin" is a very expressive album and offers a wide range of tones and moods with a superb blend of classical and progressive chamber rock. "Darwin" is a heavy theatrical production which comes across as a great concept-like piece of art. Loads of great keyboard work here as you would expect and songs are exceptionally well pieced together. I love the inter-exchange of the rock ideals with the classical style BANCO mix here. Oboes, clarinet and harpicords get interwoven with synths, piano and electric guitar. The CD re-mastered version is exceptional and offers grand sound reproduction. This is a real treasure for those lovers of Italian prog rock and is also a great place to start for the young at heart.

James Unger

A jewel, probably their best album, even though by regarding the difficult connection between a song and another, some critics have been criticizing such concept album for many years... but apart from this controversial opinion, to me the impact was enormous and the work of the keyboards fantastic as usual!!

Lorenzo

This concept album is my favourite of the first three BANCO albums, but it is also the oddest (mind you, all BANCO's music is a bit odd in my opinion). Pity I understand very little Italian, because I think the lyrics for such an ambitious theme (evolution) would be interesting.
The long 'L'Evoluzione' (evolution) is obviously the vehicle to introduce the album's concept. It starts off as a fairly sedate song (I even hear a little PINK FLOYD in there somewhere) but then comes some synth which makes me think of erupting volcanoes, and the song heats up, not very melodically, with BANCO's characteristic repetitive note sequences, with a piccolo mib playing over the top in places. Keeping one's mind on the theme stops the track getting tedious.
'La Conquista Della Posizione Eretta' (the conquest of the upright position) is really atmospheric, with synth used to produce animal-like sounds, and some dynamic 'echoey' synth that, given the theme and track title, make me think of apes swinging through the forest treetops at great speed (honestly!, although the band probably intended nothing of the kind). I really, really like this track.
'Danza Dei Grandi Rettili' (dance of the large reptiles) is also the business. It has a very laid-back jazzy barroom feel, starting with some piano and bass, and then adding synth. Again, bearing in mind the theme, it's not hard to picture a T. Rex clomping around looking for prey. Great synth on this one.
'Cento Mani E Cento Occhi' (a hundred hands and a hundred eyes) is the reason I bought the album in the first place. It is a frenetic track with a fair amount of unmelodic keyboard with what sounds like repetitive two-finger key bashing and 'wailing' by Francesco Di Giacomo (well, that's how it sounds to me!). When I first heard this track I thought, "What on Earth is this?" but had to listen to it again, and again and finally had to buy the album. This is probably the track to play if you want to clear a room! Knowing the title, the music makes me think of a giant millipede scuttling at high speed along the jungle floor, but I'm probably way off: wish I could understand the lyrics. Then, right at the end of the song, there is what sounds like a tribal ritual chant over some foot-tapping progressive rock. A bizarre track, but strangely compelling.
'750,000 Anni Fa...L'Amore?' (750,000 Years Ago...Love?) is ballad-like, Francesco Di Giacomo singing with great feeling with the piano as the principal backing instrument, interrupted for a short while by some very electronic synth. It's pleasant enough.
'Miserere Alla Storia' starts off with staccato, repeated note sequences on the organ, then changes to a classical-sounding theme with piccolo mib and acoustic guitar, then transmogrifies into a mad-sounding Francesco Di Giacomo half speaking, half singing, then back to the staccato repeated note sequences on the organ. It becomes more interesting towards the end when piano kicks in with synth and other instruments, but in places reminds me a bit of a slightly out of tune village band.
'Ed Ora Io Domando Tempo Al Tempo Ed Egli Mi Risponde...Non Ne Ho!' (and now I ask the time to Time and he replies...I haven't got it!) is yet another bizarre track. It starts with a sound like a donkey braying, which sounds to me like the very slow dragging of a violin bow or perhaps the rocking of a very creaky rocking chair. Then the clavicembalo and piccolo mib add some background as Francisco Di Giacomo sings to backing music that sounds a bit like an umpapa umpapa village band.
I hope the above whets your curiosity rather than putting you off getting this album. If you're used to melodic Progressive Rock then this is a very different beast, but should grow on you. The composition and use of instruments to convey the theme are clever, and there is so much variety and oddity in the tracks - and within tracks - that it keeps you listening intently and enjoying immensely. Get it, listen to it on headphones, imagine and enjoy. If you don't like it at first, stick with it, it's worth it.

Fitzcarraldo

Definately an improvement over their debut, which was released earlier the same year as "Darwin!" "Darwin!" is supposed to be a concept album, presumably inspired by Charles Darwin himself. The debut album, to me, was like the first two YES albums or GENESISs' "Trespass", or in the world of Italian prog, Le ORME's "Collage", all albums showing potential which following albums fulfilled that promise, although I have to say BANCO's album was definately much more progressive than those two early 1969-70 YES albums. "Darwin!" to me fulfilled the promised that showed on their debut. No doubt the opening, "L'Evoluzione" shows BANCO at their finest. The synthesizers are more present, unlike the unremarkable Moog leads you might find on "R.I.P.", the synthesizers on "Darwin!" are far more interesting and present. This album showed the band really did their homework, and so little time between the debut and this album that the year still wasn't over (1972). "La Conquista Della Posizione Eretta" is another totally fantastic number, largely instrumental, dominated by the keyboards of the Nocenzi brothers (Gianni and Vittorio), with some truly amazing use of synths. The cut ends with Francesco di Giacomo's usual dramatic singing. The rest of the album consists of shorter pieces, but still unmistakably progressive. "Danza Dei Grandi Rettili" is a more jazzy piece, all-instrumental, dominated by Gianni Nocenzi's piano, although his brother Vittori gives us some nice use of synth. "750.000 Anni Fa... L'Amore?" is a nice piano-dominated ballad, definately my favorite ballad from BANCO, I like the use of synths in the middle. The closing piece, "Ed Oro Io Domando Tempo al Tempo Ed Egli Mi Risponde... Non ne Ho!" is a more waltz-like piece, with harpsichord and reed organ.
If you want to get in to BANCO, make sure you start either with this one, or their following, "Io Sono Nato Libero", as both are totally essential Italian prog albums.

Ben Miler

Everything that is wonderful about Italian Symphonic Prog is encapsalated in the first track, "L'Evoluzione" on Banco's best album; almost 14 minutes of majestic keyboards, sonically charged guitars, Francesco's incredible voice and just enough Italian weirdness. Fantastic! And that's only the first song! One thing I love about Banco is that they're very original. Except for a Emerson-like keyboard flourish here or there, I can't compare them to anyone else, especially outside of Italy. So, to make this short and oh so sweet, if you want to check out this band start with this one. It's up there in the top 5 Italian Symph albums of all time. Take my word!

Ray Rappisi jr

It's really a classic prog album which I have the remastered edition (2001). Looking this album in the context when it was released, it's definitely an excellent classic album! There is a blend of bluesy style as indicated by how the guitar is played like David Gilmour of Pink Floyd. I'm not in a position to comment which band came first with this kind of bluesy style but it seems like Pink Floyd first. It's not the whole style and nuance of "Darwin!" is similar with Pink Floyd - it's only the guitar style at the opening of the first track "L'Evoluzione" (13:57). The total music concept, approach and style of Banco is completely different with Pink Floyd. Based on my observation this album is more a symphonic prog than a psychedelic one.
The opening track "L'Evoluzione" (13:57) is truly a killer with great variety of styles from start to end. There are parts with memorable melodies and well balanced segments with complex arrangements - even it's combined with short drums solo. The vocal in Italian language is powerful and unique. I think Italian is one of the best prog languages - it sounds nice to my ears. All musicians play their parts wonderfully: classic organ, bass guitar, drums and guitars. I keep repeating this track one because I like it. The music sometimes reminds me to PFM.
All other tracks are also excellent in terms of composition, varied tempo as well as time signatures. Am not gonna review on track by track by track basis but by going through some tracks, you will get a full picture of the music of "Darwin!". The second track "La Conquista Della Posizione Eretta" (8:41) brings the music even much more wonderful with pulsating organ / piano work which reminds me to Keith Emerson even though in different style. The first verse of the song is truly rewarding and I doubt that you do not think that this is a great composition. Any prog ear would say that this is a great composition. More of half duration of this track is a great instrumental, and the vocal part enters at the ending part. Instead of symphonic, the band also inserts jazz style like it's demonstrated on some segments of track 3 "Danza Dei Grandi Rettili" (3:39).
Given the facts that many segments of this album have symphonic nature, it's actually a representation of the era where most prog music was revolving around this style. It's an excellent addition to any prog music collection with unique sound of Italian prog. Recommended.

Gatot Widayanto

The reason why Banco del Mutuo Soccorso so much deserves their status as an epitome of the best Italian prog of all times is the fact that its first three efforts are highly remarkable masterpieces in which complexity and beauty are taken to their maximum levels. All three together follow a coherent line of artistic ambition and consistent recreation of sonic potential. "Darwin!" was my first BMS experience, and what a pleasant entrance it was. 'L'Evoluzione' brings the listener a complete landscape of the musical world generated by the Nocenzi borthers and ordained by the full ensamble. There is Di Giacomo's peculiar vocal style in which the grandiosity of opera and teh magic of Mediterranean folklore are mixed, there are the interplays sustained by both keyboardists while they apparently seem to go their own ways, there are the guitar flourihes, there is the complex labor delivered so solidly by the rhythm section, there are the additiona ornaments provided by other instruments such as vibraphone andclarinet. This is the first BMS to feature a Moong synthesizer, and you can tell that the Nocenzi brothers are loving it. Its employment adds color and energy to the other keyboards' inputs, as well as robust duplication of guitr phrases and clarinet lines. This is an incredibly jaw-dropping opener that leaves the listener wanting more (or some time to ret before going on with the album). 'La Conquista della Posizione Eretta' is heavily based on the multiple keyboards' stuff, but this is not a mere exucse fr technical pyrotechnics: in fact, you can sense a dramatic feel in the long instrumental jamming that takes place, a feel to which Di Giacomo's singing a proper defining conclusion while the piano delivers mysterious chod progressions. 'Danza dei Grandi Rettili' is a most beautiful serenade, relaxed and constraint, focused on the playful side of conventional jazz. 'Cento Mani e Cento Occhi' is a typical BMS number: it's complex yet not unscrutable, energetic yet not overblown, full of appealing musical ideas which ae cleverly intertwined through thoroughly crafted mood shifts and tempo changes. And what can I say about track 5 that many haven't said before me 750,000 times? It's one of the most beautiful ballads ever in the world history of rock, just like that. Therefore, it's one of the most beautiful ballads in prog history and Italian prog history: Di Giacomo makes his voice cry in sheer sadness, and so does Gianni Nocenzi regarding the ivories of his grand piano. Sadness leavs and grandeur returns for the almost instrumental 'Miserere all Storia'. Unlike 'La Conquista...' and not unlike 'Cento Mani...', this one is constructed in a very calculated manner by all instrumentalists, but there is a brief moment for drama during Di Giacomo's pompous soliloquy: ceremonious, perhaps parodic. The closer is a prerry circus-meets-Venezian folk song on a 3/4 tempo. The final sounds of old carrousel machinery closes down a terrific musical work, a masterpiece indeed.

César Inca

BANCO are of course one of the big three from Italy and for many this is their favourite album by them. The emphasis is on the keyboards, organ, piano and of course those amazing vocals.Yes this is complex and well played. And for this being a concept album, there are so many styles of music as you go from song to song.
One of my favourite songs is "L`Evoluzione" with acoustic guitar and organ leading the way early before drums and piano have their way in the soundscape. But man ! Can this guy sing with those operatic vocals. Lots of mood and tempo changes in this one, and lots of organ. "La Con Quista Della Posizione Eretta" is laden with keyboard melodies and it's 6 1/2 minutes before the vocals come in. The songs ends with piano and the wind blowing.
"Danza Dei Grandi Rettili" is jazzy sounding with light drums and nice piano melodies. "Cento Mani e Cento Occhi" is an uptempo tune with vocals that is dominated by keyboard melodies. "750,000 anni fa...c`amore" features fantastic vocals and more amazing piano melodies. "Miserere Alla Storia" is kind of strange with theatrical vocals and lots of organ. The final song has a title that is almost a paragraph long, much like the RED SPARROWS song titles. I really like the chorus in this song but the creaking noises throughout, I just don't seem to appreciate.
I love Italian music and this is essential.

John Davie

This is a fantastic album and is solely responsible for introducing me to Italian symphonic prog. I decided to go out on a limb and challenge myself with something different long ago after hearing great things about this album. It starts off nice and slow with the epic l'evoluzione with some gentle yet ominous sounding synth and then it builds adding guitar and drums and other instruments before ascending to becoming a prog freakout. At this point I was immediately hooked and decided that BANCO DEL MUTUO SOCCORSO were a fantastic band and as the song went on I was amazed I had delayed for so long in listening to this and I was enthralled as the song traversed emotional and atmospheric landscapes through the dark to the grand to the contemplative to the uplifting and finally to the mellow yet fitting ending, a very underrated prog epic and the perfect song to start the album with although unfortunately not all the songs are as good.
Next up is la conquista della posizione eretta which is another great song, which within the confines of symphonic prog is a remarkably heavy piece with driving rythmn similar to zeuhl in a lot of ways and a brooding atmosphere (and great use of tympani) before near the end tapering off and becoming more mellow and melodic. From here the album lose a lot of steam unfortunately and it's mostly downhill from here to the jazzy laid back la danza dei grandi rettili to the more typical Italian prog of cento mani cento occhi to the emotive lamenting piano driven 750.000 anni fa...l'amore. The next song Miserere alla storia is another highlight of the album with more of the dark tones featured earlier on in the albums with some fantastic memorable melodies, unfortunately once again the album loses steam into the final song which is fairly uneventful. The good part though is that even though there is a fairly big disparity between the decent songs and the great songs the less prominent tracks all have some great bit in them and are fairly memorable
I like the instrumentation on this album a lot, the album is heavily reliant on synths, they the main meat and potatoes of the music and they are used very effectively from heavy distorted organ sounds to sawtooth sounds to vibraphone sounds to straight up piano with all kinds of different sounds in between, my favourite being during the middle quieter part of l'evoluzione. The guitar is fantastic, it's not dominant at all but it comes in at all the right times with a furious fuzz tone and there are several parts with some amazing harmonised guitar passages a lot of the time though it's well down in the mix and it's hard to know it's there - not that this is a particularly bad thing as this approach is perfectly suited to the music. The bass has a pretty good tone but I tended not to notice it much to be honest. The vocals are okay, I don't like the guy's voice very much but he suits the music and sings in tune and that's all I can ask for really it doesn't detract from the experience at all.
Overall Darwin is a great album from a great band, recommended highly to any fans of symphonic prog (not just Italian either).

Richard Ingham

Usually we consider many Prog albums as masterpieces and give 5 stars as candies because they are excellent (others for fanboyism), but the word seems to be loosing value with the avalanche of "masterpieces" we can find in Prog Archives, most of them for albums that are good but really not remotely superb.
The problem gets worst when you are before album that is absolutely perfect from start to end. as is the case of Darwin! by BANCO DEL MUTUO SOCCORSO, all the words we can write and more clearly the 5 stars seem poor for this quality.
The combination between the Nocenzi twins in the keyboards and Francesco di Giacomo perfect operatic voice and sweetness can't be compared with almost no other album that I ever heard, so how much higher can we go?. 5 stars is the limit. But if you add that imaginative human metronome called Pier Luigi Calderoni in the drums, Marcello Todaro on guitars and Renato D'Angelo in the bass, you got the perfect band and album, the musicianship and classical training is more than evident, there's simply no way to ignore this from the first listen, it's a wonderful album.
"Darwin!" starts with the soft synth intro of "L'Evoluzione" (The Evolution), a blend of mystery and expectation can be felt in the dense atmosphere that can almost be cut with a knife, then the incredibly sweet voice of Signore Di Giacomo with the company of an incredibly beautiful piano and then full band places us in mood for what is coming.
The vocal section goes "in crescendo" until a piano and guitar fugue announces the explosion, the whole band Rocks and Di Giacomo rocks with them proving us how versatile he is, pure Prog Rock at it's most pristine expression, radical changes, perfect arrangements, it's hard to describe with plain words this excellent opener.
"La Conquista de la Posizione Ereta" (The Conquest of the Erected Position) is a semi instrumental that describes the battle between the instincts of the proto hominid to keep using four legs and the need to acquire the erect position in order to complete the evolution. Normally the instrumentals are unable to transmit a concept clearly (For example Six Wives of Henry the VIII is musically outstanding but it could also be an album about six of the seven Snow White dwarfs, because the music is unable to transmit the ,message), but in this case not only the frantic music but also the sound effects resembling the growls of our ancestors complete describe the scene.
After six minutes of music Di Giacomo adds a short vocal passage in which he clarifies even more the idea they expressed so well in notes. More than explanatory this section is important because we have the chance to listen his amazing voice.
"La Danza Dei Gran Retilli" (The Dance of the Great Satanding un Man -Not possible a literal translation-) is a softer and jazzy track that calms the mood a bit because the hearts of the listener must be pumping at 150 beats per minute, there are moments in which the influence of ELP is evident but mostly is pure Jazz with the Nocenzi twins playing together, even here they hit the nail in the head because part of the perfection of an album is to include the right section in the right moment and they did it.
"Cento Mani E Cento Occhi" (One Hundreed Hands and One Hundreed Eyes) begins ultra frenetic with the whole band and vocals hitting us with all they have, now I feel some Crimsonian influence but which is softened by the characteristic Italian melodic sense and again (Not strange at this moment) a beautiful piano passage, just to return to a very controlled cacophony and then to Baroque synth just to loose control again several times.this track describes the word Prog more than 1,000 words.
In this track Marcello Todaro adds his rough voice which make a perfect contrast with the clarity of Francesco, simply perfect.
"750,000Anni Fa..L Amore?" (750,000 Years Ago.The Love?) is the reason why I bought this album, the most incredibly beautiful piano performance with Francesco Di Giaccomo that leaves me breathless, if you want to find the definition of beauty in any dictionary, you should read the name of this song.
But again there's not all, the mystery and darkness is provided by the synth and again the original vocal and piano melody comes back for my pleasure, this sole song pays the whole album, the rest of it is for free, and what a gift.
Normally we are used to praise good vocalists who are very good, but this guy is on another level, I'm sure he's the best voice in the Prog Market and by far.
"Misere Alla Historia" (Misery to the History) starts with a vibrant instrumental intro that reminds me of "L Evoluzzione" but it's only a short reminiscence, the sound changes radically to a softer and more mysterious passage where the clarinet takes the lead, again Todaro adds his voice to create a primitive scenario (Something that achieves) and leads to another Crimson influenced passage where the piano and synths rule adding a touch of ELP and Wakeman successively, The guitar and bass work deserve special mention because fit as a glove in the song, well, we're before a group of virtuosos that know the meaning of the phrase "team work".
"Ed Ora Domando Tempo Al Tempo Ed Egli Mi Responde....... Non Ne Ho!" (Now I command Time to Time and He Responds Me.....I Don't Have Any" ) starts with a Medieval vocal section by a vopcalist who I guess it's Todaro (He's the only one credited in vocals beside Francesco) but sounds very clear, this intro is followed by some kind of carnival music, very weird and traditionally Italian, a short but interesting closer for an outstanding album.
Now, I started to look for 6 stars but we don't have that chance, so I will have to rate it with the undervalued 5 stars, sad because they deserve more.
There's simply no reason or excuse for any Proghead not to have this album, no collection can be complete without a copy of Darwin!, so connect to Internet with your credit card number or go to your favorite store and get it, it's a crime not to own it.

Iván Melgar

The very moment I heard the first verse: "Try, try to think in a bit different way" I knew I will face an amazing journey. So I did. Unbeatable energy, intelligent songwriting. Expressive voice. Incredible piano passages - you have to hear it to believe it. And so on and so on.
There is no point of further fanboy expressions, and I feel a little bit disgusted writing too-well-known phrases praising the masterpiece, and again I feel I won't do justice to an album that is simply ______________ (enter your favourite expression here), by trying to write a review with at least some decency and value.
Oh, who cares. What is from the bottom of the heart must be expressed, and if someone find it useful, great.
This is a concept album about the evolution, hence the title. Lyrics are great, and vocal singing these lyrics is still able to be tear-jerking for this sentimental fool. The plot includes the prehistoric "humid and colourless skies", volcanoes, lava, the big reptiles..and the apes that will start to FEEL and to THINK...to use their powers as a group of hunters ("one hundred eyes and one hundred hands") and to feel love and to "dance under the moon", and finally, to let the wheel spin...
I will give you two or three more unnecessary informations: music is superb, varying from excellent jazz to organ-driven hard rock, symphonic, mellow passages, piano balladry, Italian folk and a mind-blowing spectrum of synthesizer sounds that sound like a clarion call.
Needles to say, they all fit into each other, and the music altogether is perfectly blended with the story, making it extraordinary, emotional and very intelligent. The sounds of squeaky wheel, symbolizing the advent of humans and the flow of time, and the growls "uurgh aark" are always sending shivers down my spine.
This piece of art is beyond the boundaries of form, genre or medium.

Moris Mateljan

Banco del Mutuo Soccorso are certainly the most original band from the classic symphonic triad from Italy (PFM, Le Orme and Banco). They managed to create a very distinctive sound due to the great interplay between the two Nocenzi brothers on keyboards (classic pianos, hammond organs, moogs and clavinet). For this reason they are still very influential (Consorzio Acqua Potabile, for instance).
Darwin is not the most favourite of mine from their famous output. I still prefer Io Sono Nato Libero for its more mature soundscapes tinged with acoustic guitars.
Notwithstanding, I have to admit that Darwin is their most bombastic one (L'Evoluzione and La Conquista della Polizione Eretta), their most operatic and theatrical one (just listen to the superb Cento Mani e Cento Occhi), italic in its essence for its dramatic haunting melodies (750.000 Anni Fa... l'Amore), unespected jazzy variations (Danza dei Grandi Rettili), medieval flash-backs (Ed Ora Io Domando Tempo al Tempo ed Egli Mi Risponde: Non ne Ho!), wonderful classic arrengements (Miserere alla Storia) and, above all, very inspired vocals courtesy of a certain Francesco Di Giacomo (who probably does his best here).
You probably won't like it at first. But, listen to me: give it a pair of spins more and it'll never leave your top ten! A concept album for the evolution of your prog taste.

Andrea Cortese

Great symphonic work by BANCO...at least of the same historical value with their debut...The sound here is more symphonic and less jazzy or rock than their debut with the massive use of the piano and other instruments like clavinet,clarinet etc...Great theatrical perfomance by DiGiacomo as well,one of the best vocalists in the history of prog rock ever...The only problem is that the compositions are sometimes a little more complex than they should be (in my opinion) instead of being melodic...Best song of the album I think is ''750000 anni...'',it grows rare emotions in me...Overall a gem of prog rock,with dark atmosphere,complex arrangements and outstanding vocal performance...

apps79

Francesco Di Giacomo, inmenso trovador de la música progresiva italiana e inapelable frontman de BMS, falleció en un accidente de tráfico en febrero de 2014. Va este aportazo de un discazo excelente como homenaje inapelable...
Sobre el disco, y después de todo lo que dijimos, imagino que no se lo van a perder. Maravilloso y ultra recontra recomendado.

Lista de Temas:
1. L'Evoluzione
2. La Conquista Della Posizione Eretta
3. Danza Dei Grandi Rettili
4. Cento Mani E Cento Occhi
5. 750,000 Anni Fa ... L'Amore?
6. Miserere Alla Storia
7. Ed Ora Io Domando Tempo Al Tempo Ed Egli Mi Risponde ... Non Ne Ho!

Alineación:
- Gianni Nocenzi / clarinet, piano, keyboards
- Pier Luigi Calderoni / drums, tympani
- Renato D'Angelo / bass, guitar, guitar (bass)
- Francesco DiGiacomo / vocals
- Vittorio Nocenzi / organ, synthesizer, keyboards, clavinet
- Marcello Todaro / guitar (acoustic), guitar, guitar (electric), vocals