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**Banco Del Mutuo Soccorso - "Io Sono Nato Libero": A Triumphant Return to Form**

In the grand theater of Italian progressive rock, few bands have managed to navigate the treacherous waters of musical evolution quite like Banco Del Mutuo Soccorso. Born from the fertile Roman scene of the early 1970s, this quintet has weathered decades of changing tastes, lineup shuffles, and the inevitable question that haunts every prog veteran: how do you stay relevant without betraying your essence? Their 2016 release "Io Sono Nato Libero" provides a resounding answer, standing as both a bold statement of artistic vitality and a bridge connecting their legendary past to an uncertain but promising future.

To understand the significance of this album, one must first appreciate the towering legacy Banco built with their holy trinity of early releases. "Darwin!" (1972) established them as masters of the Italian prog scene, with its ambitious concept exploring evolutionary themes through cascading keyboards, intricate time signatures, and Vittorio Nocenzi's visionary compositions. The album's epic title track remains a masterclass in progressive storytelling, weaving together classical influences with rock dynamics in a way that felt both intellectually stimulating and emotionally stirring.

If "Darwin!" was their manifesto, then "Io Sono Nato Libero" (1973) – yes, they've cleverly recycled the title for this comeback – was their masterpiece. The original album showcased a band at the peak of their creative powers, with Francesco Di Giacomo's soaring vocals painting vivid pictures over the Nocenzi brothers' keyboard wizardry. Tracks like "Canto di Primavera" demonstrated their ability to balance technical prowess with genuine melodic beauty, while the title track became an anthem of artistic freedom that resonated far beyond prog circles.

The third pillar of their classic period, "Garofano Rosso" (1976), saw them incorporating more accessible elements without sacrificing their complexity. This soundtrack work proved their versatility and helped cement their status as one of Italy's most important musical exports, alongside PFM and Le Orme.

Fast-forward four decades, and "Io Sono Nato Libero" (2016) arrives like a message from prog's past, filtered through the wisdom of experience. The album opens with "Il Ragno," a sprawling composition that immediately announces this isn't some nostalgic cash grab. Vittorio Nocenzi's keyboards still cascade like water over stone, but there's a modern clarity to the production that allows every nuance to breathe. The interplay between piano, synthesizers, and Mellotron creates textures that feel both familiar and refreshingly contemporary.

"Metamorfosi" stands as the album's centerpiece, a 15-minute journey that recalls the epic scope of their early work while incorporating subtle electronic elements that never feel forced or gimmicky. The composition unfolds with the patience of master storytellers, building tension through dynamic shifts that would make their 1970s selves proud. It's prog rock as it should be: challenging but never alienating, complex but always serving the greater musical narrative.

The title track itself serves as both homage and evolution, reimagining themes from their classic period through a lens of accumulated experience. Di Giacomo's vocals, while showing the inevitable wear of time, retain their distinctive character and emotional range. His delivery on "Sono Nato Libero" carries the weight of decades spent defending artistic integrity in an increasingly commercial landscape.

Perhaps most impressive is how naturally the album flows between intimate moments and grandiose statements. "Nudo" strips away the layers to reveal the band's core strengths – melodic sophistication and harmonic richness that doesn't require pyrotechnics to impress. Conversely, "Il Pianeta Delle Scimmie" unleashes their full arsenal, with Rodolfo Maltese's guitar work providing the perfect foil to the Nocenzi brothers' keyboard architecture.

In today's musical landscape, where prog has splintered into countless subgenres and revival movements, Banco Del Mutuo Soccorso's approach feels refreshingly authentic. They haven't tried to chase trends or reinvent themselves wholesale. Instead, "Io Sono Nato Libero" represents the work of master craftsmen who understand their strengths and aren't afraid to trust them.

The album's legacy is still being written, but its immediate impact is undeniable. It proves that