THIRD EYE LIGHT

I heard about this italian group in the Prog Brasil site. For some reason the italian prog scene was always popular among progheads in my country since the 70´s. Third Eye Light is their sophmore release and came after a very long absence (around 19 years!) when founder members Edmondo Romano and Alessandro Serri had left to form The Black Veil in the mid 90´s. I haven´t heard their debut in 1991 to compare to this one, but let me tell you something: this CD is BEAUTIFUL! it took me some time to write about it because I kept hearing again and again.

It is obvious that the band has strong influences of those great prog acts that came from Italy in the height of the prog movement almost 30 years ago (PFM, Banco, Le Orme, etc), but their sound is not retro. In fact, they put enough modern elements (plus some doses of folk) here to make a sound of their own. Most of the time the music is laid back and melodic, although there are some heavier moments too. The tracks are all very good and quite varied, but some parts like the semi instrumental title track, Rain Street 19 and Peggy, they reached that moment when the melody transcends genres to produce something that´s really sublime. Those 3 songs are worth the price of the CD. Fantastic electric guitar and flute solos, fine keyboards and strong songwriting skills are Eris Pluvia strong points. The vocals are good, although their english comes with a heavy italian accent that might annoy some (but not me). Production is excellent.

The only down side is the record´s short running time (only 44 minutes, we want more!). In some tunes I had the feeling the band could have developed the song into something longer or so it seems. Yet Third Eye Light is a very strong come back, one of the best releases of 2010 and I really hope they don´t take that long to produce a follow up, even if, in this case, it was well worth the wait. Wonderful italian symphonic rock that will please anyone who enjoys good music. Rating: 4,5 stars. Highly recommended.

The Family tree of ERIS PLUVIA, ANCIENT VEIL, and NARROW PASS is fast becoming like a miniature FAIRPORT CONVENTION in terms of members and guests floating in and out apparition-style. When ERIS PLUVIA disbanded some time after their landmark 1991 "Rings of Earthly Light", 2 of its main men, Alessandro Serri and Edmundo Romano, formed "The Ancient Veil", often incorrectly assumed to be a rebranding of the original group, but actually an offshoot. A few years ago, Romano and Valerie Caucino (who guest vocaled on "Rings"), were hired to perform on the NARROW PASS project debut, and both reappeared on that group's sophomore release. While all of these permutations retain certain hallmark characteristics, none has been able to match the original incarnation, and that is why "Third Eye Light" has been widely anticipated since its imminent arrival was announced over 2 years ago.

To add to the intrigue, neither Romano nor Serri have returned to the fold. Marco Forella, Paolo Raciti and Alessandro Cavortati remain, and recruited several other members and guests to help fill the void. Add to these upheavals the passage of 17 years and I can only marvel at the degree of continuity. not to mention the quality of the compositions and the pervading sense that this is another remarkably complete work.

The overall mix of gentle RPI, medieval folk, and classical influences remains a key trait of ERIS PLUVIA. One aspect that has changed is the introduction of heavy, almost metallic elements at times, these being completely absent on "Rings". Even mellower concoctions like the impeccably textured "Rain Street 19" and the instrumental "Shades" occasionally lose their lid and expose a darkly sinister brew. More overtly, "The Darkness Gleams" and "Fixed Course" sound like a quite different band, admittedly still proposing harmonic guitar leads and even jazz fusion influences. "Fellow of Trip" strikes more of a balance between all these aspects, even incorporating growling vocals in a couple of instances along with ethereal passages, but half buried in the rich arrangement. Here I think of the 1980s German group AMENOPHIS and their self titled debut.

My suspicion is that Romano's absence on sax is missed relative to "Rings", where this brass was often the take-charge instrument, and as a result lead guitar is more prominent here. But the flutes of Roberta Piras and Raciti's keys do play critical roles, and reach absolute fruition on the divine "Peggy", mostly sung by Diana Dallera, with several different verses and instrumental choruses alternately played on flute, synth and CAMEL like guitar. The ageless melody bears witness to the awe of progressive balladry. One final twist in the guitar work near the fade out takes me just a few heartbeats away from passing to another plane of existence.

By comparison to "Peggy", the two other full fledged ballads, while reminiscent of early work, and beautifully produced, are characterized by a certain lack of follow through, a sense of spent energy, lacking the final thrust of even short songs like "Pushing Together" and "You'll Become Rain" from their debut.

While this is not a flawless work in the manner of its predecessor, I daresay it will appeal to more progressive fans due to its moodiness. Moreover, the pedigree of ERIS PLUVIA remains unblemished by the pedestrian, and more than salvaged by a commitment to the musical equivalent of Ikebana. This Eye believe.

Italian band ERIS PLUVIA was formed back in 1988, and released their official debut three years later. It was a well received affair, and for the next few years the band was active and rather popular as a live act. After this the band went on a sort of hiatus, as the members carried on creating other types of music under another moniker. In 2001 plans started to crystallize about a new album, and in the summer of 2010 this sophomore effort was issued as "Third Eye Light" after almost a decade of development.

When Eris Pluvia enjoyed attention back in the early 90's, their stylistic expression were often compared to UK act Camel. And those with a soft spot for that sound will find much material to enjoy on this disc. Mellow, laid-back and dreamy are words that more or less summarize what you'll find, as long as symphonic progressive rock are added to the description I might add.

It is a subdued form of the genre we're presented, used more as an effective backdrop than as the driving force of the compositions, but developed to such an extent that the symphonic tag still is viable. Drawn out atmospheric guitar soloing are used extensively in addition to the mood-filled textures provided by various forms of tangents, and on some occasions these elements combined with wandering clean guitar motifs or carefully dampened guitar riffs creates a sound closer to Pink Floyd than Camel. But more often than not the fluctuating synths and keyboards combined with gentle guitars is closer to the latter than the former in sound. In particular in the sequences where the flute is added to the proceedings.

This type of music isn't of the kind that makes an immediate, dramatic impact. Some albums exploring this universe can actually become somewhat tedious, as everything is coated in cotton candy. Thankfully that isn't the case on this occasion. Careful, sparing but effective use of guitar riffs adds nerve and contrast to the proceedings, while energetic and more spirited passages and songs does create a shift in momentum and energy. Final number expands the palette in another direction, exploring a more distinctly folk-oriented style.

But by and large this is an album made for those with a soft spot for the gentler territories within the symphonic progressive rock universe. And a successful one as well, which should please fans of Camel first and foremost.

This album has been really growing on me since I bought it a few months ago. I know of few guitarists in prog world that are doing as exciting playing as Alessandro Cavatori right now (only JOHN MITCHELL comes to mind). The musical structures of this album are mature and diverse, with enough stylistic and tempo shifts to make it fresh and exciting--while being melodic enough to be continually engaging. While not a masterpiece, this is definitely an excellent addition to any prog rock music collection.

It's too bad that any Italian prog rock group has to be automatically assigned to the RPI sub-genre because there are many that would fit the "prog folk" or "space/psychedelic" or "symphonic" subgenres as well as Tull, Floyd, or Yes.

Of all Eris Pluvia /Ancient Veil releases, this 2010 effort by Eris Pluvia is my personal favorite, no doubt about it on my regard; "Third Eye Light" really demonstrates the sort of beauty that can be achieved when the natural calmness of pastoral-friendly old-fashioned prog rock meets fluidly and naturally with a sense of modernizing energy in terms of writing and arranging. This Eris Pluvia that came to be after the first line-up's crisis can be proud of itself as the one that capitalized the band's artistic ethos. Romantic symphonic prog with a heavy emphasis on evocative moods, this is what Eris pluvial is all about. The presence of guest flautist Roberta Piras is an excellent asset in the achievement of this musical vision. The namesake track opens up the album with a full display of lyrical magic that clearly hints at heritages from Celeste and PFM, as well as "WYWH"-era Pink Floyd and 90s Camel: it's 6 ½ minutes of symphonic beauty. This combination of relaxed tempos and impetuous musicality is successfully reiterated in track 2, 'Rain Street 19', which eventually serves as the opening of doors to the inclusion of more aggressive strategies in some portions of track no. 3, 'The Darkness Gleams', as well as spacey synth layers that punctuate the basic melodic lines: it is at this point that Eris Pluvia becomes more patently modern, somewhat related to the neo-prog standards of Quidam and Satellite. Another noticeably neo-oriented song is 'Fixed Course', that could easily have been included in any of Pendragon's later albums or a Satellite album had the Hand of Progressive Fate changed the history of music just a little bit? well, it's an Eris Pluvia song and that's all to it. Between the two stands 'Someone Care For Us', which brings a moment of calm, reflective ambience that sounds like a mixture of Celeste and Aries. 'Peggy' is a solid return to the pastoral prog atmospheres that had dominated the first two tracks: guest vocalist Diana Dallera shines here, so enhancing the composition's inherent beauty. The instrumental 'Shades' is the album's highlight: this is where the progressive nature of Eris Pluvia's music meets its highest peaks of sonic magnificence and elegant complexity: the links between motifs and the interactions among musicians are just impeccable. Next track is 'Fellow Of Trip', a candid-natured song that stands halfway between the moderated vitality of 'The Darkness Gleams' and the engaging simplicity of 'Rain Street 19'. The album's last 4 ½ minutes are filled by the beautiful serenade 'Sing The Sound Of My Fears', which incarnates a fulfilling expression of the band's romantic approach to the tradition of symphonic prog. While not a totally essential album in my book, I gladly admit "Third Eye Light" is an undisputed lovely album that honors the continuing presence of Italy as a major voice in the past and the present of progressive music. 3.40 stars or this one.

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.

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...

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.

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.