ERIS PLUVIA

Really plain.

Tales From Another Time doesn't sound like art but labour.

This is tired melodic symphonic progressive rock like Mirage.

Pretty much lots of guitar solos and a little bit of singing. Everything is fine yet unremarkable. The male vocalist has a very non descript voice (sort of like Jakko Jakksyzk) that sums up the music very well. The melodies are very dull and the music tends to ramble while going nowhere.

Overall I would never give this album any less then three stars as the album is not bad, just incredibly average. No high moments and no low moments so yeah, three out of five.

Many years ago I was hosting a dinner with some fairly discerning guests, and one of them threw a suggestion at me that was vague and amorphous; from it arose my ultimate culinary triumph with the compliments flowing faster than would have been necessary as mere positive reinforcement. Odd that I never took the time to register what I had done so, you know, I could have replicated it for somebody I really needed to impress instead of the rock cod bones strewn with flesh that I was stuck on for the next decade. But maybe deep down I knew that it could never be replicated anyways, and so I allowed the legend to live on rather than be extinguished by over exposure, or any exposure at all. It strikes me how much ERIS PLUVIA's debut album from 1991 is like that shrouded repast, glorious and perhaps imitable but not replicable. It established an atmosphere and a substrate just solid enough to be skipped upon in between soaring interludes. As near perfect an album as I can think of, its success proved such a curse that the surprisingly accomplished successor lay 20 years in the future. Since then, well, the sound is all there but the magic has well and truly dwindled.

You've got the flutes, the sensitive vocals, including female as necessary, that could pass for stoned but probably have to do with the intonations of a non native speaker, the languid lead guitars, the spacey mood, the sweet melodies, but it's just not very memorable. They no longer seem to be navigating with artful assurance. The overly elongated tracks - I have complained about these on other albums in the last few years as artists try to pander to their prog audience - fail to captivate me as a unit, and, as if to underscore these attenuated extensions, seem to end in the middle and start again. On their debut, lest I sound like an intransigent codger, every track was no longer nor shorter than it needed to be. Even the castoffs from "Rings of Earthly Light", which recently appeared on a reissue credited to ERIS PLUVIA and spinoff ANCIENT VEIL, are superior to the best of what is offered here.

None of these criticisms are meant to imply that "Tales from Another Time" has no place in the present. Their prior accomplishments alone have earned them the right to be heard, but but they don't seem to be doing much to get beyond that audition. 2.5 stars.

Eris Pluvia is a band from Genoa, Italy playing a style of RPI that has influences of symphonic prog and folk evident in their music. Their first album was released in 1991 and received a lot of praise from critics. However, their next album wasn't released until almost two decades later in 2010, a 3rd album in 2016, and finally, this album called "Tales from Another Time", released in March 2019. The current line up consists of lyrics and guitars by Alessandro Cavatorti; bass, piano, keyboards and drums by Marco Forella; vocals by Roberto Minniti; and Roberta Pitas on flute. This album consists of 6 tracks that together span almost an hour in total run time, 3 that are standard length of about 5 minutes, and 3 others that are multi-part suites lasting 11 to 17 minutes. Most of the lyrics are sung in English.

The album starts with 2 of the shorter tracks. "When Love Dies" is an instrumental that starts peacefully with piano and flute playing a pastoral ballad with acoustic guitar joining later. At 2 minutes, keyboards and a more traditional rock feeling comes in with drums, but it remains soft and melodic. Intensity comes in later with guitar and then synthesized vocal effects as the band reaches into its Floydian bag of tricks. "Lost in the Sands of Time" starts quite mellow with atmospheric guitars and processed percussion before vocals come in. The band comes in later with a driving rhythm and synth riff and vocals become more intense. The track is fairly typical however, not really offering much and sounding a bit forced as they try to get in a progressive sound in the time allotted one way or another.

The first epic is over 17 minutes. "La Chanson de Jeanne" is a 3 part suite. It starts with a guitar intro with the full band behind before the vocals start. Later, guest vocalist Ludovica Strizoli sings the 2nd verse. As the track continues, it seems quite shallow and the keys sound dated. The only real good thing here is the guitar solo, but it is played against a boring background. After 5 minutes, the 2nd part begins with a minimal keyboard playing sustained chords and other effects. Spoken word vocals echo in the background for a short time. Finally, after 8 minutes, soft flute and guitar stars and the guest vocalist sings a lackluster part that is supposed to have that prog-folk feeling, but unfortunately, there is hardly any feeling there at all. The beat finally picks up with the regular singing and a lilting flute. Again, there is still no real heart in the music, it feels flat and the playing seems canned as keys and guitar take turns at solos. The 3rd part begins about 14 minutes in with organ and strummed guitar supporting a synthesizer melody and guitar solo then a pastoral flute ending with fade out.

"The Call of Cthulu" is another 3 part suite lasting about 12 minutes. It starts out a bit more heavy when the guitar comes in with drums playing a more solid beat. As the instrumental beginning continues, organ, synth and so on play their parts as this track promises to be a bit better. Before the 4 minute mark, things get eerie with dark and mysterious sounds, which is expected considering the subject matter, then the ominous organ comes in preceding vocals. The vocals are much to mellow however and bring the believability down a bit. A steady, moderate beat begins, more vocals, then guitar. At 8 minutes, the rhythm becomes slightly more complex and the vocals a bit more intense, but then everything is lost when this stops and the 3rd part begins. Cue the final guitar solo, then more eerie atmospherics. At the end of it all, you realize that even at almost 12 minutes, the development still lacks because it just seems like a lot of little parts that had to be put in here or there, everything had to be in its place that there wasn't any room for development anywhere.

Next, there is the 3rd short track "Last Train to Atlana". This is again another pastoral instrumental with flute and acoustic guitar (with squeaky strings) with some light percussion. The flute melody is quite uninteresting though.

The last track is another epic at over 14 minutes. "The Hum" is a 5 part suite. This one shoots for a more progressive sound in the introductory section with tricky rhythms, organ and guitar. Later, a slow piano section brings in the vocals for a ballad style section. The organ, piano and guitar in the instrumental break are nice and the melody here is probably the most heartfelt. After this, the complexity returns with a more progressive section, but this ends too quickly as things get quiet except for tolling bells and atmospherics. Then the flute carries a melody with a soft orchestral effect. This is interrupted after the 10 minute mark with the complex progressive sound coming back as the full band kicks in but soon settles into a steady beat with the flute still leading the way, but this time with a little more intensity. After a while, the guitar takes the flute melody and runs away with it.

For the most part, this album seems to try to be more than what it really is. Yes you have the long epic songs, but, other than "The Hum", which is the highlight of the album, they just seem too forced and lack emotion. The shorter tracks don't really help to bring it all together, and in the end it seems a bit disjointed. For the most part, unless they are playing a solo, the musicians just seem to be there playing automatically. Other times, it seems they are in a hurry to fit everything in and end up without developing anything. What makes "The Hum" more interesting is for some reason, there is more heart and soul in the song, but even it has it's problems, it's just that it is a more interesting track too. The music could stand to be somewhat looser and emotional and not just playing for the sake of playing. The album squeaks by with a 3 star rating, but only because of the last track.

My review about ERIS PLUVIA "Rings of Earthly Lights" is almost the same review of PROG REVIEWER b olariu ! I recognize the great importance which this album in the early 90's ( the progressive rock "resurrection" moment ) but, like he said ( in other words ) this is don't figures day by day menu ! In fact is only a regular / median album. Although, reserves some good instrumental parts like the first track "Rings Of Earthly Light" ( and I agree again with b olariu) the best song of this record and maybe of whole band discography. Another coincidence between our analysis is absence of more "abetters" instrumental moments , how is expected from a good prog music! One moment with some of this strong intrumental music is track 3 "The Broken Path" but, is so breath... In counterpoint some beautiful flute/acoustic guitar/keyboards themes as for instance track 2 "In The Rising Mist" and track 4 "Glares of Mind" (other good moment ) bring to the listener some "madrigal landscapes" My rate is 3 stars !!!

Like the big bang that set everything and everyone in motion, ERIS PLUVIA seems to diminish in potency and distinction as it vaults ever further from its source around the turn of the 1990s. The sudden passing of long time keyboard player Paolo Raciti in 2011, shortly after the release of "Third Eye Light" must have been emotionally arduous, but Alessandro Cavatorti and Marco Forella have pressed onward, playing all the instruments except for the continued contribution of Roberta Piras on flute. They have recruited but one vocalist, Roberto Minniti, to replace Matteo Noli and Diana Dallera. Hence for the first time, no female vocals are present to complement the overall placidity of the material, and I have some problems with Minniti's twang from its first appearance, although eventually he (or perhaps I) yield to the ambiance at which the group has always excelled.

"Different Earths" is yet another ambitious thematic work that prioritizes atmosphere over amplification or virtuosity, as it explores mankind's yearning for interstellar travel, discovery and settlement. Wafting keyboards, acoustic guitar and otherworldly electric guitar leads reminiscent of both Andy Latimer and David Gilmour mark most of the tracks, with the conch occasionally passed to the flute. The melodies tend to be more languid than ever, but not as memorable or lucid. This is hurtfully evident when the closing piece cedes to "Rings of Earthly Delight" in that inevitable and cruel contrivance of itunes, over and over again. That early work could hardly be described as vivacious, except in stark contrast to "Different Earths".

Flaws aside, the album includes 4 very solid tracks while most of the rest might appeal to different listeners in different moods. The centerpiece is the 10+ minute "Heroes of the Dark Star" with a few amiable twists and a fine vocal turn by Minniti. "Man on a Rope", "Poet's Island" and "Black Rainbow" are other highlights offering the attributes described above. I can't consider any of the pieces to be masterpieces like every track on the debut and 2 or 3 on "Third Eye Light", nor do I find the individual compositions to be very synergistic as an ensemble, pushing together to scale peaks not attainable individually. It's almost like what the original band might have dreamed up one night and then scrapped the next day in deference to more profound inspiration.

Overall, while I am disappointed, I think a reset is probably appropriate. The earth of 2016 is different from that of 1990, or even that of 2003 when I first heard "Rings", and "Different Earths" is a good album of mellow folk influenced prog, nothing more or less. If you are a fan, by all means reach for it, and if you are not, but you find the description intriguing, I recommend approaching ERIS PLUVIA chronologically.

In 1992 Alessandro Serri left Eris Pluvia, followed a bit later by Edmondo Romano.The two of them formed the Folk-oriented duo of The Ancient Veil, while Romano would be later involved in several Fabio Zuffanti projects.The band continued for a short time with Narrow Pass'es Mauro Montobbio on guitars and new singer Alessandro Conti and played numerous lives in Italy and France, before another guitarist, Davide Marrari, was recruited in 1994.Since 1995, although not practically disbanded, Eris Pluvia stopped their live activity.In 2001 shades of life reappeared as the band set up its own Mister Sound Studio and in 2005 guitarist Matteo Noli and drummer Daviano Rotella joined the band for the recordings of a second album.The sessions begun in 2009 and, with a few guests on flute, guitar and vocals, Eris Pluvia returned in 2010 with ''Third eye light'' on BTF.

Almost twenty years after the great debut Eris Pluvia seem to have not lost a single vibe of the sound that made them a pretty original group.Their musicianship remains highly melodic, sensitive and emotional with emphasis on smooth guitar plays, the constant presence of pastoral flute lines and the slightly accented English lyrics.Although far from adventurous, the album contains many soft, semi-symphonic interplays and they sound pretty close to Polish band QUIDAM, drawing influences from the Italian Prog scene and the elaborate music of CAMEL to present atmospheric and mostly melancholic soundscapes full of interesting guitar solos and pastoral, folky textures.Performing now in 2010, they appear to have upgraded their sound and placed it a little more far from the 70's aesthetics and inches closer to mellow Neo/Symphonic Prog.Paolo Raciti's work on keyboards seems to be rather complementary and his main executions are limited to the sweet piano preludes dominating the album next to some acoustic orientations.Part of the majestic, outlandish passages of the debut are absent from this release, which is nonetheless a strong album of atmospheric, CAMEL-esque Progressive Rock.

Exactly when the band was back alive and well, the prog world was shocked in August 2011, when Paolo Rastici suddenly passed away.The rest of the band kept performing as a memorial to him, playing some gigs in music scenes.

This could have been called ''Rings of earthly light vol.2''.Pretty similar to Eris Pluvia's debut, lacking some of the best moments of the first album, but still offering some well-crafted and melodic Progressive Rock.Recommended.

After almsot 20 years break Eris Pluvia manage to release a second album named Third eye light in 2010 issued by AMS records. As is known in prog circles after Eris Pluvia disbanding in 1992 two of the original mebers Alessandro Serri and Edmundo Romano formed The Ancient Veil another prog band from mid 90's who remains totaly unknown to larger public and with one album released. Aswell few guests who apper on their first album Romano and Valerie Caucino formed in 2000 Narrow Pass, an italian prog band but with minor succes to the public despite the very good two albums offered since now. With the new Eris Pluvia release only 3 of the original members remain optaing for having again guests. The new album to me is less intresting then on Rings of early light in every aspect. Even is well played and has same symphonic meets folkish atmosphere as on previous album, the overall arrangements fail to impress me very much, but I can surely appreciated the positive feed back this album offers after some spins. All pieces as same level, not one is in front, very nice booklet and paintings. So, to me a good come back by the band with this release, but is only ok, they don't break any grounds. Is almost one year (3 august 2011) since the founding memeber of Eris Pluvia , keyboardist Paolo Raici left this world to found peace in a more greener world where he can find his old time musical mates.

Eris Pluvia is one of the italian prog bands that revitalized the early 90's prog scene with the album Rings of earhly light, released in 1991 at Musea records. Well, to tell the truth I was not so knock out by the music offered as many reviewers from here, but is an ok album to my ears, maybe little more then ok in places. Eris Pluvia playes a type of symphonic prog melted with folk and pastoral passages, very much similar with Ezra Winston, Rousseau or even some Camel influences are present. The arrangemnts are highly melodic, well orchestrated and with plenty of good moments, nice acustic elements added and violin aswell. Overall I like it, but is to much mellow parts and only few sparse segments of more energy infuse, I can't say is a bad thing but not really my cup of tee for every day listning. The opening track is by far the best from the album Rings Of Earthly Light clocking around 18 min divided in 5 parts, capture all the best moments Eris Pluvia had and has since then, I think the best tune they ever made. All in all, a decent and pleasent album, but to me the release fail to impress me big time, I think 3 stars is fair enough.

Eris Pluvia began life in Genoa in 1988 with a first line up featuring Alessandro Cavatorti (guitar), Paolo Raciti (piano, keyboards), Edmondo Romano (flute, sax), Marco Forella (bass), Martino Murtas (drums) and Alessandro Serri (vocals, guitar). In 1991 they released an interesting debut album titled "Rings of Earthly Light" and started an intense live activity. In 1992 Alessandro Serri left the band while Alessandro Conti (vocals) and Mauro Montobbio (guitar) stepped in. In the mid nineties, after some other line up changes, the band stopped the live activity and took a long rest. Eris Pluvia came back in 2005 and in 2010 the band released an excellent second album, "Third Eye Light", with a renewed line up featuring Alessandro Cavatorti (guitars), Paolo Raciti (keyboards), Marco Forella (bass), Matteo Noli (vocals, guitars) and Daviano Rotella (drums). In the recording studio they were helped by some guest musicians such as Roberta Piras (flute, vocals), Diana Dallera (vocals) and Max Martorana (classical guitar) who contributed to enrich the sound. "Third Eye Light" is a conceptual work inspired by a short story written by Alessandro Cavatorti and Alessia Ceri that you can find in the booklet along with some pictures describing it. On the art cover there's a painting by Anita Chieppa, "La donna di vetro (ferite)" (The woman of glass ? wounds), that in some way depicts the mood of the music and lyrics... Well, to be honest the music is not so original and every now and again recalls bands such as Pink Floyd, Genesis and Marillion but the final result is good and fits the concept.

The title track opens the album and begins softly. The atmosphere is mysterious and dreamy. A man wakes up but his strange dreams are still hanging over him. He crawls out of his bed and finds a header inviting him to the inauguration of an exhibition of paintings by an artist called Peggy, a friend he hasn't seen for a long time. The title of the exhibition is "Third Eye Light". Soaring female vocals seem almost coming out from the invitation card like the singing of a siren, then a heartfelt, evocative electric guitar solo in David Gilmour's style leads the way...

Next comes "Rain Street 19". It begins with an acoustic guitar arpeggio and flute notes, then melodic vocals soar on a piano pattern... The title of this track is the address of the building where the exhibition is held. It's raining and there's a lot of people at the entrance, they're all trying to go in... "I hear their voice, don't feel the sound... No breeze, no place, I'm fainting... Now I'm inside...".

Once inside, the protagonist of the story doesn't see the paintings, he perceives them! There's a strange, strong phenomenon of empathy. The mood is tense and the rhythm rises. "The Darkness Gleams" describes the first painting and what the protagonist feels looking closely at it. The painting reproduces a scene of violence, a man is lying on the pavement and the protagonist can hear the hooters of an ambulance and feels the pain of the injured man... "I open my eyes, shouting all my fears! / Now they're coming down chocking all my fears / The darkness gleams!".

"Someone Cares For Us" is more reassuring and calm. It describes another painting representing a hand stretched out to reach another hand. The scene communicates a warm feeling of security, there's someone who cares for you and he lights the fire of hope..."There is my trust inside your hand-shake, that I will never give up...".

On the instrumental "Fixed Course" the rhythm rises again. The protagonist is aware that the emotional power of the paintings could be overwhelming but he can't go back, there's only one way and he has to look at every painting risking to get lost in it before leaving the exhibition.

"Peggy" describes the reaction of the protagonist to the next tableau. It represents a ballerina in the rain mixing tears, sweat and excitement... The sweet voice of the painter seems coming out from the colours on the canvas, female vocals soars... "Now you can see me, here inside this maze / Where we'll share ambition with tears and true commotion...".

"Shades" is an excellent instrumental that describes another painting. It begins with a delicate piano pattern then an electric guitar solo introduces a sense of tension. Disquieting shapes surround a man with a threatening look but he doesn't seem to fear them. Some horrible sounds call him and scratch his soul, he walks following their orders, tamed...

On "Fellow Of Trip" the empathy with the mysterious painter is stronger than ever leading to an explosion in the mind of the protagonist. On the next painting you can see open spaces and a crushed merry-go-round, the purity of the childhood is falling into an abyss while in the distance a train runs night and day marking the minutes...

The melancholic last track "Sing The Sound Of My Fears" describes the reaction of the protagonist to the last piece of art before the exit, a mirror! "Again, a shiver in my back / I think to start to run and escape / And the rain over my tears sings the song of my fears / I see my soul / A huge mirror showing my eyes, my dreams, my pains / And I know my third eye light, my new life...".

Well, a very interesting story and a good album. Unfortunately, on August 3, 2011 Paolo Raciti, the heart and keyboardist of the band, died. Now he's playing his piano in Heaven while his band mates keep on playing on Earth remembering him...

This is an enjoyable concept album with a convoluted tale ... I'm not 100% certain that I get it, Third Eye Light is the name of an art exhibit by the protagonists friend Peggy - or it's the name of a power that they have the allows them to see all the suffering of the human race, or give them advanced sight at the cost of those around them - or that part was all a dream ? - the art exhibit seems to feature pieces that remind the protagonist strongly of their own life - and in the end there is a mirror and the person inside the mirror is Peggy. Has Peggy lost herself? Is Peggy even a separate person?

So it takes a while to puzzle your way through the concept, but luckily the music that you do so along to is quite pleasant in fact, often romantic but with a definite rock edge to it. The singing is okay, heavily accented but understandable English. The flavor of the music involves lots of organic-sounding instruments, and even when the guitars are electric, they aren't particularly heavy. Admittedly this is your typical rock-band with keys lineup but the use of keys is very tasteful. Several of the tracks are instrumental, which truthfully I am okay with because the vocals, whether or female or male, weren't remarkable.

No track on the album is dull or boring, but it's very rare that they reach any exciting climax either, which is a bit of shame for an album based on such a convoluted and almost shocking concept. Still, the music is melodic if not always memorable. Fellow of Trip is one of the better tracks on the album, really great feeling in this one, and it also features the heaviest guitars on the disc.

An enjoyable listen, especially to fans of more organic-oriented symphonic music or RPI, and albums with stories that you get to puzzle over.