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Corte Dei Miracoli - Dimensione Onirica CD (album) cover


Corte Dei Miracoli


Rock Progressivo Italiano

2.95 | 25 ratings

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Sean Trane
Special Collaborator
Prog Folk
2 stars 2.5 stars really!!

This posthumous release is another iffy item from Moroni's Mallow label, but as is usually the case, there are many pros and a bit fewer cons to it. This archives demo tape is quite impressive and rather, but as with any demo tapes, there are many poor recorded moments, which does make me cringe and make them a bit iffy upon releasing them. But overall the music is much worth being heard, even if it bears few resemblances to CDM's only official historical release. Before their self-titled album's release in 76, CDM was a group since 73 under a fairly different line-up, with only keyboardist Feltri and drummer Scogna in the line-up. These (poor) demo-tapes were recorded in the winter 73/74 and the music sounded quite different as there was no jazz-rock inflections.

What we have here is a double-keyboard quintet developing a classically-influenced prog, that had some ELP-Nice-Banco influences mixed with Hammond-driven hard prog ala Murphy Blend or Virus. Compared to their CDM's eponymous album, the singing is much less disturbing (as Zippo is not yet in the group), the guitar parts are much more numerous and there are no irritating percussions (those temple blocs). Clearly this demo album demonstrate and helps understanding the band's schizophrenia in CDM's album) as here Feltri is the only composer and he is the one pulling the band in a classical territory and the jazz tendencies are the result of incorporating Zegna into the group. Three of the tracks (and not the least, either) here will be present (but fairly altered) on their sole historical album, the rest mysteriously disappearing from sight until Moroni's unearthing.

These demo tapes are a little long, and this would not be a problem had the sound been better (sometimes it borders the unacceptable), but listening to the whole thing at once is somewhat arduous, partly for sound reasons, partly for classical borrowings and derivative passages of other bands, and also because over the length of the album, you are bombarded with the same sonic spectrum. For collectors only, even if it does shed some lights on the historic album, all to often considered (abusively) a masterpiece.

Sean Trane | 2/5 |


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