LE ORE I GIORNI GLI ANNI

A charming and infectious debut album, `Le Ore I Giorni Gli Anni' (The hours, days and years) by Italian band Moogg is an endlessly melodic, catchy and well played Canterbury Scene-styled jazz rocker. It contains a mix of strong vocal tracks and several varied instrumental workouts with a unique upbeat sound that also allows for moments of reflective and darker passages as well. Much of the sound of the band is defined by the confident and purposeful Italian vocals of Marco Dolfini, as well as the endless chirpy keyboard soloing of Antonio Gafforini that will quickly bring a smile to your face!

One thing that Moogg proves yet again is that, just because a band hails from Italy, they don't necessarily perform in the unique and identifiable Rock Progressivo Italiano (RPI) style the country is known for in progressive music circles. Moogg is no exception to this rule, although you will find little moments throughout that incorporate brief similarities, perhaps on the passionate delivery of the vocals on `Classe 21' or `Welfare Botanico'. Although there's been plenty of bands who have adopted the Canterbury sound without being directly linked to the original founding musicians, there hasn't been much in the way of Italian bands following in the same path. Picchio Dal Pozzo perhaps come to mind, but they now have good company with Moogg.

Anyone who loves Caravan will greatly enjoy the opening title track, with it's foot-tapping and cheerful arrangement. After a snappy opening, chiming guitars, glistening electric piano and dancing bass fall in place with Marco's confident deeper vocals that keep the piece from sounding too lightweight. Not even two minutes and we're off to the land of Grey and Pink, with a dazzling extended synth run and gorgeous melodic guitar soloing that sounds like a modern interpretation of that classic Canterbury album. That's one thing Moogg does so well, take their love of 70's Canterbury music and give it their own modern and contemporary spin.

My personal favourite and album highlight is the second track `Classe 21', showing that the band doesn't merely rehash and remake other bands and albums. Beginning with programmed electronics, heavy drumming and brooding guitars, it's takes a quick dip back into a sprinkling of twinkling electric piano and jazzy guitar noodling before the main melody finally kicks in. Tense phasing electronics and hard distorted bass, with a dark and moody treated vocal from Marco, nice aggressive synth soloing in the middle, and edgy emotional guitar grinding from Ivan all through this too. Very modern sounding and hints at the real potential of the band.

`Il Perche' Di Esser Me' starts as a more serious and relaxed vocal/electric piano piece but quickly builds in urgency, then launches into an uptempo jazz/fusion rocker with the band really taking off. Passionate delivery from Marco and grooving electric soloing carries the piece home. There's also a real positivity to `Responsabilita', a quirky fusion pop/rocker with boisterous vocals, leaping bass, uplifting electric soloing and jazzy electric piano.

The total knockout of the album is the nearly 15 minute `Welfare Botanico'. The piece covers so much ground, really challenging and pushing the band to the limits of their talent. Moody ambient sections, an overload of forceful fusion and Hatfield and the North technicality, smoky groovy breakaway moments, experimental fragments, blissful Mellotron wisps - the imigination and variety never ends on this one! All the while, it's perfectly grounded by the constant fluid bass of Gianluca Avanzati. Marco's vocals gets a real workout on this one too, moving from reflective croon to forceful booming - Ahh, there's that recognized Italian flavour. Wait for the truly stunning rising Mellotron/synth fanfare finale that wraps the piece - absolute progressive precision and grandiosity.

As for the three instrumental tracks, the first half of `Gli Arroganti' is a hyperactive wavering Moog/synth run over loose jazzy drumming and dreamy guitar, before a fiery lead guitar and bass duel in the second half - the band really cooks on this one! `Lunalia' is a warm and romantic word-free lullaby with gentle percussion and a floating cloud-like synth melody, simply beautiful. The peppy fusion rocker `Moogugni' is full of ragged guitar and pumping bass soloing, manic drumming and sprightly electric piano, but regretfully keyboard player Toni can't help dropping in a melody from the Bee Gee's `Staying Alive' in the brief disco diversion about a minute in! Cute the first time, a little annoying and cheesy on repeated plays! Still, it shows the band has a wink in their eye and a nice sense of humour!

Anyone who wants to hear an inventive and talented modern band bring the Canterbury sensibilities of Hatfield and the North/Caravan and 70's jazz/rock/fusion kicking and screaming into the modern age, with typical Italian tastefulness and a welcome sense of humour need look no further. Moogg have released a beautifully produced, perfectly played and exciting debut album that deserves plenty of attention, and I can't wait to hear a follow-up. So much charm, potential and talent, and you also won't find a better album to put you in a great mood either!

An easy and well-deserved four stars.

Moogg come from Brescia and began life in 2003 under the name Moog on the initiative of Marco Dolfini (drums, percussion. vocals), Rosario "Penny" Rampulla (bass) and Toni Gafforini (keyboards), one year later guitarist Ivan Vanoglio joined the band and completed the line up. In 2006 the band changed the name into Moogg to differentiate it slightly from the famous Moog synthesizer and in 2007 they released a first demo. In 2009 Penny Rampulla left the band and was replaced on bass by Gianluca Avanzati, former member of other prog bands such as Lithos and NotaBene. With this renewed line up, in 2011 Moogg finally released a debut album on the independent label Mellow Records, "Le ore i giorni gli anni" (The hours, the days, the years). Moogg's source of inspirations range from seventies prog to jazz rock, from psychedelia to Canterbury and every now and again they remind me of D.F.A., another excellent Italian contemporary band. In this album their love for bands such as Caravan and Hatfield and the North shines through but you can find also many original ideas, some nice funky passages, a strong sense of melody and well balanced arrangements.

The lively title track opens the album with a touch of bitter-sweet nostalgia and grey and pink colors. When you are young you think that you have all the time to shape your ideas, to find the right sounds for your music and make your dreams come true. Later, as you grow up and the daily grind absorbs your energies, you realize that your time is running short and you have to hurry to reach your goals. You would like to stop for a moment but you can't... "Now I know it / The days are escaping from me / And I keep on running after them...".

"Classe 21" (The 1921 contingent) is another excellent track dealing with time. The lyrics portray an old man facing a youngster who perceives him just as a burden and finds his stories boring and uninteresting. But in the past the old man was bold and brave, he overcame many obstacles, he fought during the war and every night his past comes back to him and lives again in his dreams... "You seem incapable to think of me as a young man / Films upon films made me believe that my whole past was in black and white...". The mood is dark while the music marks the contrast between old and new compounding modern and vintage sounds in a very effective way.

The reflective "Il perché di esser me" (The reason to be me) begins softly and the mood is dreamy. The lyrics are about growing up and describe the need to leave behind your childhood. You have to understand what you really want to do in your life, once you have made up your mind you can take a new way but if you look behind for a moment your toys seem almost to be smiling at you asking why you're leaving... "It's time to go away, cheating on nostalgia... Now I drive slowly along this new way...". Eventually the rhythm takes off and your journey can start.

"Gli arroganti" (The arrogant people) is a beautiful instrumental track featuring funky patterns and many changes in mood and rhythm. The music seems almost taking you to a party and all you have to do is relax, enjoy the nightlife and get into the swing of things. The following "Responsabilità" (Responsibility) begins with a frenzied rhythm and there's tension in the air. Well, when the party is over you have to take up with reality. You have to pay a tribute to your normality and think of your role on earth. Are you ready to set a family and raise a baby? What would you teach to your children? At least teach them to be brave, they have to set off on a long journey... Eventually the tension melts giving way to a more relaxed Latin rock passage. I know, sometimes you have to throw caution to the wind and go with your heart but beware! "Responsibility!".

Then comes the dreamy, calm instrumental "Lunalia", followed by another short instrumental track, "Moogugni". The title is a kind of mix between the words moog and grumbling and as the rhythm takes off again you have better to get ready for another frenzied ride on the wings of your imagination. The long, complex "Welfare botanico" (Botanic welfare) concludes the album with a touch of "green energy" and some reflections about the meaning of life. There's a green sap which runs inside the trees and makes them grow, it gives them energy without a reason... "I wish I were like that sap, vegetal mind / Going up like that forever / Holding tight the life in me / Knowing there's no other way...".

All in all, I think that this is a very good album and that it's really worth listening to.

Inspired by Prog Rock, Jazz Rock and the Canterbury scene, Moogg started in 2003 in Brescia, Italy as the trio of drummer/singer Marco Dolfini, keyboardist Toni Gafforini and bassist Penny Rampulla with guitarist Ivan Vanoglio joining the following year.In 2007 the band recorded a demo, bringing them to the attention of the local music scene.2009 sees the exit of Rampulla and the coming of Gianluca Avanzati in the line-up, who was then a member of Notabene.At the fall of 2010 Moogg visited the Poddighe Studio in their hometown, five months later they had finished the recordings of their debut ''Le ore i giorni gli anni'', released on the native Mellow Records label.

The sources of inspiration of the band surface instantly on Moogg's debut, which is a delicate Canterbury-spiced Prog Rock/Fusion amalgam with sweet interplays, romantic melodies and even some fiery and dramatic sections, reminiscent of the Classic Italian Prog delivery.I am surprised they do not refer to Picchio dal Pozzo as one of their influences, cause there are some strong similarities between the two bands, anyway, echoes of CARAVAN and HATFIELD AND THE NORTH are evident throughout the album, from the slight psych-flavored vocal melodies and tunes to the consistent jazzy background, dominated by careful interactions, solos and breaks, featuring some great keyboard fanfares on electric piano and synthesizer.But the expressive Italian vocals will often add a personal touch to a very British-indluenced sound, while the more neurotic synth parts along with the bombastic material come a tad closer to the classic local groups like BANCO DEL MUTUO SOCCORSO during their mid-70's experiments.8 years of writing and performing had resulted to a good combination between semi-abstract soloing and solid musical structures, propelled by the superb guitar and keyboard parts.I loved it, when I saw a Mellotron in the album's credits, but this appears way too sporadically to fully appreciate its presence.Fusion legends IL BARICENTRO is also another group to come to mind while listening to ''Le ore i giorni gli anni'', a work containingh also some light funky vibes at moments.

File next to PICCHIO DAL POZZO.Elegant Prog Rock with major jazzy waves akin to the Canterbury bands plus some drama reminiscent of the Italian Prog pioneers.Solid and recommended release...3.5 stars.

I remember hearing a sample of the title track some where and I immediately started to track down this recording. They hadn't been added to the site here when I picked it up so I set it aside until recently when I noticed they have a new one out, so I thought it was about time I reviewed their debut. The music of MOOGG reminds me quite a bit of DFA as we get a jazzy, Canterbury-like vibe happening. The vocals are excellent and in Italian. In fact the liner notes are all in Italian making it impossible for me to relay anything from there.

The title track as I mentioned won me over right away. It's still one of my favourite songs from 2011. It hits the ground running but then settles into a gorgeous soundscape with vocals. Keys, drums and guitar stand out here. Nice keyboard solo 1 1/2 minutes in then the guitar replaces the keys before 3 minutes as it stays instrumental. The vocals are back before 4 minutes but not for long as another instrumental section takes over until before 6 minutes. The vocals are so good. "Classe 21" is a top three song along with the title track of course. Such a good keyboard/ bass/ drum section to start. Guitar 2 minutes in as the soundscape drives harder. Vocals before 3 minutes. Great sound! Love the tone of the guitar before 3 1/2 minutes and the rhythm section kills. The guitar starts to light it up before 6 minutes and the drumming impresses as usual.

"Il Perche Di Esser Me" has a laid back start as reserved vocals join in. It all turns more passionate 2 minutes in including the vocals. A change after 2 1/2 minutes as the tempo picks up in this keyboard driven instrumental section. Nice bass too. The guitar starts to solo then the vocals return as it stays uptempo although the vocals are brief. "Gli Arroganti" is an instrumental that starts with this repetitive melody until it settles in. Guitar to the fore after a minute. A change before 2 minutes as we get this uptempo soundscape with keyboards, bass and drums leading. Nice. The guitar is lighting it up after 4 minutes. "Responsabilita" is another uptempo soundscape with impressive keys, bass and drums. The vocals join in and they will come and go. "Lunalia" is a relaxed instrumental, quite chilled with a catchy keyboard melody that comes and goes. "Moogugni" is another energetic instrumental with keyboards and guitar sharing the lead. Check out the bass 2 1/2 minutes in.

"Welfare Botanico" is my final top three and this one is close to 15 minutes in length. A spacey intro with cymbals and piano joining in. It kicks in around a minute with a pulsating rhythm and guitar over the top. Some jazzy piano before 2 minutes while the bass throbs. The guitar is back as the flavour changes and is repeated throughout. A beautiful sound before 3 1/2 minutes with those spacey synths. Reserved vocals after 4 1/2 minutes as it settles some. The vocals do become passionate. A change 6 minutes in as it turns instrumental. Nice guitar here. So uplifting. Don't let it end! But they didn't listen as the keys replace the guitar before 8 minutes. The drumming and bass is so good here as usual. A calm after 9 minutes as the drumming, electric piano and bass shine. It's building as the guitar starts to lead before 11 minutes as a former theme is repeated. A calm with vocals follows as it kicks in at 12 minutes. Nice synth work during this rather intense section to end the album.

I want to give this more than 4 stars but I just can't do it. Regardless, this is one amazing recording that fans of DFA and the like should enjoy a lot.

Wonderful Canterbury jazz in the vein of HATFIELD AND THE NORTH (without The Northettes)--all this from a quartet from Brescia!

1. "Le Ore I Giorni Gli Anni" (7:22) is a great jazz tune in the Canterbury/CARAVAN/HATFIELD AND THE NORTH tradition using many of the same instruments and sounds as well as constructions and stylings as those bands. Great song. And a pretty good voice from drummer Marcos Dolfini! I LOVE the both of the two different guitar soli in the fourth minute. Such a fun song! There's even a bass solo! (9/10)

2. "Classe 21" (6:38) The drumming is so 1970s! So are the keys, rhythm guitar and bass lines. Wonderful replication and execution--yet sounding fresh! I love the second section with its vocals being run through an effects box and the awesome lead guitar sound. (9/10)

3. "Il Perche' Di Esser Me" (5:48) great song: pacing, melodies, mood, performances, and vocals. One of my favorite songs from the year! (9.5/10)

4. "Gli Arroganti" (instrumental) (7:18) has the definite vibe of 1970's Black Sexploitation movie soundtrack music. Herbie Hancock doing a Bill Cosby show soundtrack. (8.5/10)

5. "Responsabilità" (4:30) has such a HATFIELD sound and feel to it--thought the vocal is so AREA/Demetrio Stratos! My favorite part of the song is the instrumental soli! (8.5/10)

6. "Lunalia" (instrumental) (4:41) is a gentle, simple, pretty, four-chord, keyboard-driven soft-jazz instrumental. Nice but nothing earth-shatteringly new or beautiful here. (7.5/10)

7. "Moogugni" (instrumental) (3:06) another soundtrack that could easily come from the 1970s--AREA or some African-American funk-jazz band. Very tightly performed. (9/10)

8. "Welfare Botanico" (14:41) opens with an almost DEODATO "Also Sprach Zarathustra" sound and feel to it before everything quiets down and restarts with a hypnotic organ, bass, and drum line over which the electric guitar solos. By the end of the second minute, we've heard some bridges, transitions, and shifts which allow the keyboard a turn in the solo position. At 2:15 it turns back to the elgtr. until a stop-and-start bridge at the end of the third minute leads into a very pretty CAMEL-like section. This part could've been on Moonmadness! The fifth minute takes us through a few twists until at 4:35 Marco's mellifluous voice sings us into the palm of his hand. Beautiful! And powerful. Then, at the six minute mark, we turn into an awesome kind of KHAN Space Shanty-like jam section-- which goes on at a great speed for over three minutes before we slow down at the 9:10 mark for a return to the Deodato electric piano sound and another spacey, jazzy hypnotic section. Nice drum play in this section! At 10:42 we move into a little more upbeat, almost disco-beat section. How HATFIELD-ish! Nice! Even the ensuing 'delicate' vocal section is fitting--especially as it precedes the crescendo of voice, synths and band into one of the high points of the album. How perfect! Not the most sensibly constructed song but it is an awesome rollercoaster ride--one that should not be missed! (9.5/10)

These guys have not only picked up the torch on some amazing sounds and influences from the 1970s but they've embraced and made it their own. Definitely a band to keep one's eye on for the future!

4.5 stars; a near-masterpiece of progressive rock music and a very welcome revival of all that was great with 1970s Canterbury style music.

Hmm, this one does not kindle joy like the other, Italian Luxury Style. This album feels rather uninspired. Most of it sounds like folks playing scale and singing rough copies of songs. There is a decidedly meh quality to this album. It is not bad but not excellent. Rather mediocre although it has no standout bad tracks. Additionally there are some good moments (particularly on the closing track) just not enough to exit 3 star territory.

Overall this album is okay, I recommend their second album first and if you enjoy that then listen to this. Other then that the album is pretty average for this kind of music (Canterbury Scene).