THE THEORY OF MOLECULAR INHERITANCE

To say that this tenth studio album by the British combo was expected is the most singular pleonasm and for various reasons, four years after the mixed "Double Vision", the Covid 19 pandemic having passed through there as for the whole world, musical or nope. The first of these reasons is obviously the change in the position of principal vocalist with the departure of the discussed but nevertheless honorable Paul MANZI and the arrival of one of the sizes of progressive music for a good twenty years, Damian WILSON.

This "The Theory of Molecular Inheritance" is conceptual as were before it "The Visitor" and to a lesser degree "Contagion" two of the most outstanding works of the Virginia Water combo, SURREY. Conceptual also means that all the titles follow one another, sixty-two non-stop minutes of a brilliant energetic neo progressive flirting regularly with our good old family hard rock.

From the first title "Time Capsule" it's big, very big ARENA beyond progressive music, everything is there the six strings of John MITCHELL, the metronomic rhythmic pair of Kylan AMOS and Mick POINTER and the voice, the voice !!!!! Damian WILSON what a throat?listen carefully, we are in the middle of the URIAH HEEP David BYRON period (the ah ah ah), limit it is Clive NOLAN the most discreet (10/10). "The Equation" same fight, calm start before John MITCHELL ignites everything, nice Moog solo in the middle of the piece, the rhythm tumbles my hen as we say at home, it's solid business (8/10 ). Twenty-one grams of music introduced by Kylan AMOS' bass is not much but it's only the title, quiet track (compared to others obviously), Damian plays it for us in the first half before a nice energizing dose in the finale, mister John of course (9/10). A welcome breath without drums, piano/voice, "Confession" to put everyone to sleep after the first eighteen minutes of high intensity (8/10), closes the first third of the work.

"The Heiligenstadt Legacy" for those who do not know the language of GOETHE, it is the heritage of the sanctuary, with a new (arch)angelic Damian between two rises of adrenalinic tension, where he gives it to us Ian GILLAN green years, superb piece that would not have denied the Deep Purple that we all know (9/10), my God it's good. If I were mean I would say that the next track "Field of Sinners" is probably the least interesting of all because the most basic, the most rock n'roll, a bit cultured, I'm still looking for the melody, an instrumental score a bit messy around the third minute in my modest opinion (7/10), on the contrary a piece that should rock on stage. "Pure of Heart" should have been a quiet piece according to its title but not at all, it's even the opposite, it pulsates severely, mister Clive's keyboards have a little trouble being heard, we're there we find with pleasure heepian choirs here and there and a John MITCHELL in fusion (8/10).

The sweet start of "Under the Microscope" the longest (by little) track of the album is a treat, it's calm but invigorating with Clive NOLAN who mooguizes thoroughly and finally an almost instrumental finale to sustain me largely, the exacerbated lyricism of John MITCHELL's guitar with a superb Celtic coloring (who remembers BIG COUNTRY?) from the first to the last second (10/10). We are already arriving at the last quarter of this "The Theory of Molecular Inheritance" with first of all "Integration", the only title under five minutes, if we except the breath of confessional air (see above), begins calm (piano / voice again) before a new simultaneous Nolanian and Mitchellian deluge, there's no way they know how to play the buggers (9/10). "Part of You" is coming, classic piece of a historic ARENA that we could have found on "Songs" or "Pride" concreted by AMOS and POINTER, radiophonic and hymnic at the same time, also cut for concerts (8/10).

The final point of this theory "Life Goes On" a sublime concluding track like the quintessence of a major work of progressive music of the decade, yes, yes... (10/10) a summit, ah this six-string guitar by John MITCHELL, this marvelous vocal phrasing by Damian WILSON and Clive NOLAN which coats the whole thing like a five-starred chef, I remain prostrate in front of this delicious dish. A word about David WYATT's artwork, the same one who had already worked with ARENA for "Contagion" and "Pepper's Ghost", it is simply up to the music, at the top level, original, not necessarily progressive primary sense, but at the top level.

Arena founded in 1995, a mega group at the time with members from Marillion, Pendragon and Asia initially. A powerful neo, the 3rd generation of prog rock after Genesis and Marillion. The heaviness of their sound has in my opinion oriented the prog towards metal for the greater good. This is their 10th opus with the contribution of Damien Wilson who has worked for Landmarq, Threshold, Headspace, Maiden United and Ayreon; it lacked a major group, it's done with Arena. 'Time Capsule' and synths forward, iron rhythm of Mick and Kylan, egosilated voice of Damian it goes fast and heavy! Uncompromising prog with this instrumentation and voice melting pot; Clive almost steps back to let John and his 6-string unleash a first solo that makes me shiver, it's still simple when the music is done well; hypnotic title with a warm, divine final ah ah ah. 'The Equation (The Science of Magic)' segues into my wood- burning piano to give way to Damien; Clive's break and Damien's revival, that's it, he's incorporated into the group as if he had been there from the start; a fat, viscous Moog reinforces the feeling of a job well done; the rhythm is heavy, nervous, makes you want to see them in concert...that's good the sound is between the sound of 1995 and that of 2022, magnificent. Damien uses his voice on different registers to break up the usual verse- chorus; the finale is explosive. 'Twenty One Grams' heartbeat, Kylan's dark bass, Mick is recognizable with his many caressed drums; Damian sings to a mermaid, castrato tune, I hope he will appreciate given the place of excellence they were given before; well, an angel, maybe it will be better. It goes up halfway with this Clive solo that makes me raise my last two hairs, it's really good at the instrumentation level, the atmosphere reminds me for a time of the dark metallic wanderings of the Riverside, I melt; final where the keyboard shows that it can be a centerpiece in a prog band these days. 'Confession' and the Genesis ballad on a piano-voice basis, the time to recover from the dose of unloaded musical adrenaline. I feared a lambda album, warned by a chronicler friend of the potential bomb that this album represented, I remain stuck for the moment. 'The Heiligenstadt Legacy' with Damien on a statement from Ludwig van Beethoven's will bequeathed to his brothers, an angelic voice boosted again by Clive's divine, solemn piano. An emotive voice, sensitive before explosion where it is found in its more usual register; John oozes his guitar notes, they fall from the sky; a crescendo where the power of the guitar goes hand in hand with the captivating voice.

'Field of Sinners' starts with oblivion, undead cries? Then a Marillion Fish-era synth, I like that already; it's latent, explosive, a pure product of Arena with the keyboard pads, with this feeling that Clive has 3 hands; the most progressive title in my opinion, less melodic, more search for musical atmospheres; I'm thinking back to 'The Visitor', it's well done, nervous, it makes my head move, I'm definitely seduced from the first listen, rare for me and John's machine-gunner solo isn't going to make me change my mind . 'Pure of Heart' ah this tune to The Passions, yes by far but the music has this fabulous thing that it brings back many memories; well it goes up and I find the energetic Arena with the intro that warms your ears, the one you don't know when it's not going to stop. Damien tumbles, choppy voice on a metallic riff then his high voice à la Jon Anderson 'Drama' era; the synths deliver far then closer with a break before launching John; the final hard riff revives Damien on high choruses, explosion before 'Under the Microscope' and a robot comes to introduce the longest title; only 7 minutes but given the hook between each track, the pleasant impression of having long songs. Good 2 minute warm-up before the climb; fat, twirling synths, it flows everywhere, the guitar gets involved, we go full force into the world of Lewis Caroll with nursery rhymes that we suppose are extravagant but I don't want to go under the microscope; the final instrumental with endless Gary Moore air guitar; a chilling crescendical title. 'Integration' forms a clean break, title apart voice and piano, it rests the ears, Damien still in value; a ballad that nay a fight of keyboards and strings that starts suddenly; Clive does nervous Pendragon, Arena, neo-neo fruity prog, yes some will still say that I mix food and music? but music can be spiritual food. 'Part of You' classic riff with a majestic, emphatic hit; superb climb that reminds us that in prog there is progression, a moment of musical distraction where you don't know where the musicians are going to take you; it's composed, researched, John tortures his guitar, Damien sings on Clive's keyboards securing the atmosphere that Kylan and Mick have undermined; solo spurting on the machine-gunned bass, simple but perfect, gripping, bringing adrenaline, sweat, emotion. 'Life Goes On' on 'The Exorcist' not possible! Ah yes Mike? Oldfield is listening he might sit down and listen interested; culmination of this flawless album where each title is linked to the next, a concept that does not look like it; the most agreed title in my opinion, everything is in place and I feel like I have already listened to it.

Arena that I had never reviewed, I who fell into the pot with their 'Songs', I who always fear to review an album before its release, I started... and I did well. This album is in my top 2022, no matter what we say in view of the perfect millimeter association between the guitar, the keyboards, the rhythmic bass and the voice of Damien. I will listen to the other albums without any problem again, I feared too much vocal presence, I am doubly reassured and enthusiastic. Clive had to be sure to wink at me. Note the artwork of David WYATT who had already worked for 'Contagion' and 'Pepper's Ghost'.

ARENA The Theory of Molecular Inheritance

The 30-year old band of "NeoProggers" are back with another album, their tenth and first in four years. Thanks to the absolute perfect fit of power-singer Damian Wilson, this may be one of their best.

1. "Time Capsule" (5:30) incredible vocal performance--perhaps the best I've ever heard from prog veteran Damian Wilson. (9.5/10)

2. "The Equation (The Science of Magic)" (6:29) rather dull despite the excellent final 90 seconds. (8.25/10)

3. "Twenty-One Grams" (6:34) stereotypic drum play beneath the heavy verses but not in the more delicately textured soundscapes in the choruses. Another nice vocal performance from Damian. (8.667/10)

4. "Confession" (2:20) sounds a bit Broadway theatric. Perhaps Damian has done Phantom or Cats. (4.25/5)

5. "The Heiligenstadt Legacy" (5:42) a story song with wide dynamic range, it sounds so much like a classic rock song by JOURNEY or BON JOVI or something like that (I wouldn't really know: I was never a fan or collector of that kind of music). (8.5/10)

6. "Field of Sinners" (6:27) has a cinematic quality as well as a Thin Lizzy "Jailbreak" sound and feel to it. Nice guitar work from John Mitchell. I'm a little tired of these "borrowed" drum tracks: its as if Mick Pointer plays from programs injecting little or none of his own personality into his performances. When Damian is belting it he sounds so (too) much like some classic rock singer from the 1980s (if not Phil Lynott). (I'm too tired and lazy and disinterested to find out who.) A solid song with nice textures and layers but nothing new or special here. (8.75/10)

7. "Pure of Heart" (6:18) Standard heavy prog with a 1980s Power Rock/Metal sound and feel. (8.5/10)

8. "Under the Microscope" (6:51) perfectly matched music and vocal performance for the first two minutes before a PINK FLOYD "Comfortably Numb" chorus takes over. Speeding along after that is some excellent racing prog with both Clive and John firing on all cylinders. (13/15)

9. "Integration" (4:48) Damian singing some very powerful lyrics about the topic of nature v. nurture over piano and later synth. At the end of the third minute, Damian finishes, releasing the hounds to express themselves in a kind of Clive Nolan-dominated Scottish reel. Very Tony Banks/Genesis-like. (8.75/10)

10. "Part of You" (5:54) Damian sings "the world has done" over pulsing keyboard "strings" for the first minute before a more metal bass musical soundscape establishes itself as the foundation for the rest of the song. Like an old LOVERBOY song. Too clich'. (8.33/10)

11 "Life Goes On" (5:11) piano chord arpeggi are joined by Damian for a little intro before the rest of the band joins in. The music is rather unexceptional, the lyrics obtuse to me, and John Mitchell's solo is seasoned and fiery. The band ramps up for the final 90 seconds with its choral repetition of the song's title. A very solid studio song. (8.667/10)

Despite being the most likable Arena album I've heard (so far, I've only heard The Visitor, Immortal? and Contagion), this is, to my ears, nothing more than splicing and dicing of recapitulated sounds and riffs from past masters with a great singer singing about topics more relevant to current times.

B-/3.5 stars; a very good addition to any prog lover's music collection--especially for the masterful performances of singer Damian Wilson.

UK neo-proggers Arena have been around for nearly three decades now, guided by founding members Clive Nolan (keyboards) and ex-Marillion Mick Pointer (drums). The line-up soon coalesced around the two musicians as well as guitarist John Mitchell, and the trio together wrote and recorded most of the 10 full-length albums that currently form the band's discography. The line-up on their latest LP, The Theory of Molecular Inheritance, is completed by bassist Kylan Amos (now at his third album with the band) and singer Damian Wilson (ex-Threshold, Headspace, Ayreon), who joins Arena for the first time here.

The curiosity for Damian's debut was high among fans of the band as well as the broader progressive rock/metal community, who recognizes in Damian Wilson one of the most significant voices in the genre. Unsurprisingly, the singer steals the scene here with a stellar performance that is worthy of all the accolades he has received over the years. Switching with ease between powerful, high-pitch belting and mellow singing, Damian is a perfect fit for Arena's eclectic sound. The Brits have always balanced their neo-prog roots with a penchant for heavier and more metallic atmospheres, at time even close to the classic Iron Maiden sound. The new album is no exception, as it alternates softer melodic moments with heavier sections, which at times even approach the stylings of modern prog metal acts like Haken ("Twenty-One Grams"). Elsewhere, Arena usher in subtle hard-rock/AOR influences, like on the chorus of "Pure of Heart" or in the gloriously melodic coda of "Life Goes On". The end result is a satisfyingly varied collection of songs that navigates a vast universe of prog-adjacent styles with taste and class.

Surprisingly given their considerable duration, the 11 songs of this LP are fairly compact and chorus-centric, favouring a streamlined form with repeated verse/chorus sequences rather than more elaborated and extravagant structures. The arrangements tend to vary over the duration of a song, although many tracks share a common template in the alternation between soft, sparsely arranged verses and heavier, fuller choruses. After a while, this approach becomes slightly repetitive, which is why a song like "Field of Sinners", with its upbeat tempo and weird James Bond movie soundtrack vibes, feels so fresh and welcome. Arguably, more injections of diversity in the songwriting and arrangements would have done good to this record, which at over 60 minutes of length tends to plod ever so slightly as it enters the second half.

Despite these misgivings, I'd lie if I said that I have not been spinning The Theory of Molecular Inheritance madly since I got hold of the CD. With its utterly addictive melodies, this is one of those albums that naturally call for repeated listens, not only as a way to fully appreciate its content, but also for the pure pleasure of listening over and over again to a great set of tunes, performed excellently and sung by a phenomenal frontman.

[Originally written for The Metal Observer]

I can't say that this is my favorite Arena album. At least not if I take into account the amount of songs I've ended up adding to my favorites lists. However, I can't be impartial, because Damian Wilson is one of my favorite metal singers in the world, and to be able to enjoy him in a band of Arena's caliber is a real treat.

For some reason I get the feeling that the production of the album lacks something, that the music doesn't sound clean enough, and that tarnishes the overall result a bit.

However, it is still an excellent work, with very good songs and a good mix of power and melodies. Personally, The Equation has been my favorite song, and if I had to tell a person to listen to how Arena sounds with their new singer, this would be the song I would choose for the first contact.

After three disappointing albums with singer Paul Manzi, Arena, in my opinion, had reached a somewhat stagnant point in their career. The golden era with Rob Sowden was behind them, and it didn't seem like things were going to get better.

However, 'The Theory of Molecular Inheritance' was released in 2022 to reignite hope for the band's fans!

Thanks to the addition of an exceptional singer with a unique voice, Damian Wilson, known primarily for his work with Threshold, Clive Nolan and Mick Pointer have produced a series of exceptionally high-quality songs, pure neo-prog of the finest vintage, which will delight lovers of this sub-genre.

The only downsides to note might be the abundance of mid-tempo and introspective songs, which occasionally slow down the album's pace. However, this is offset by Wilson's superb performance and the excellent instrumental work, with Nolan and Mitchell shining as always, perfect on their respective instruments.

So, if like me, you thought Arena was finished, I urge you to listen to this album, which undoubtedly returns them to the neo-prog Olympus, where they should never have left. Just typical Arena in their finest fort. Nothing more, nothing less!

Top tracks: The Equation (one of the songs that leaves the best impression on the first listen), Field of Sinners (reminiscent of some of the best moments of the excellent Pepper's Ghost), Pure of Heart (a tremendous chorus, with a vibrant Damian Wilson), Integration (the track where Nolan shines most intensely), and Under the Microscope (Mitchell's final solo might be the best of his entire career).

My Rating: ****

One of the big three in the modern world of neo-prog along with IQ and Clive Nolan's other powerhouse project Pendragon, ARENA enters another decade with yet another singer, in fact their fifth! Replacing Paul Manzi who joined the team for three albums from 2010-2020, seasoned veteran Damian Wilson of [Headspace], Landmarq, Star One and the off and on vocalist of Threshold jumps into the singer's seat and leads ARENA into the next chapter of its near three decade exsistence.

THE THEORY OF MOLECULAR INHERITANCE is the band's 10th album from longtime band members drummer Mick Pointer and keyboardist Clive Nolan. Returning from the previous "Double Vision" is long time guitarist John Mitchell and newer but now well established bassist Kylan Amos. Continuing the modern trend of neo-prog hybridization with the heavier aspects of modern progressive metal, THE THEORY OF MOLECULAR INHERITANCE too blurs the lines between the synthesizer-laden characteristics which launched neo-prog into its own prog subgenre and the more caustic contrast of the world of heavy guitar distortion of the world of modern metal.

At just over an hour's worth of quality material on display, THEORY offers 11 tracks with a deluxe edition offering a bonus CD with one extra track and instrumental versions of the tracks on the main album. With a renewed sense of vigor and a bit of that chomping at the bit feeling due to the two year delay courtesy of the 2020 world pandemic, ARENA's latest offering may have arrived later than expected but pretty much follows in the trajectory of albums being released every three to four years. As always ARENA exercises restraint and focuses on quality over quantity and once again delivers an above average slice of prog metal-tinged neo-prog that unleashes all the expected larger than life melodies, all-encompassing keyboard omnipresence and the ability to suck you in and keep you hooked for the album's entirety.

As with many neo-prog albums, ARENA included, THE THEORY OF MOLECULAR INHERITANCE is one of those nerdy pseudo-concept albums that dances around a central storyline but remains nebulous enough for individual interpretation. Purportedly tackling the theory of entanglement and other quantum concepts, the lyrical content crafts an emotional connection to the world of the abstract through its strong melodic hooks, soaring synthesized expansiveness and the heavier than usual implementation of metal guitar heft including staccato guitar stomps as well as the expect neo-sweeps that are almost a mandatory feature in this nook of the greater prog universe.

It goes without saying that Damian Wilson was the absolute right choice as new lead vocalist for this dynamic English act as stellar neo-prog is primarily animated by a competent and charismatic vocalist in the vein of classic Fish-era Marillion. Wilson has more than proved himself as a seasoned veteran in some of the most demanding prog metal bands on the scene these days and feels equally at home in the world of metal-tinged neo-prog which increasingly has become more entwined in the world of prog metal in recent years. The results are no less than spectacular and although i've never disliked any of the vocalists ARENA has employed in its ten album run, Wilson seems to have the perfect vocal style which suits the music to a T.

ARENA is certainly one of the top dogs in the world of neo-prog and THE THEORY OF MOLECULAR INHERITANCE keeps the band relevant in an ever changing world where musical acts come and go. ARENA has showed not only a strong propensity for crafting a traditional standard but has also proved to adapt to the necessary changes that keep it relevant in the 21st century. While i wouldn't call this latest offering as accomplished in terms of songwriting as past glories such as "Contagion" or "The Visitor?," nevertheless this Surrey sensation has proven once again why it is remains neo-prog royalty with an uncanny consistency and the ability to attract some of the best vocalists the world of prog has to offer. Another excellent album that gets extra credit for wrapping it all up with stunningly beautiful album cover art.

The Theory of Molecular Inheritance is the first Arena album to feature Damian Wilson on vocals, a matchup which fits so elegantly that it feels obvious in retrospect that Wilson is the perfect man for the job. After all, even before his stints in British prog metal stalwarts Threshold and his guest spots in Arena solidified his prog metal credentials, Wilson was the lead vocalist for 1990s neo-proggers Landmarq. Since Arena are very much in a neo-prog vein, but work in the odd metal influence here and there, Wilson already has a well-established grounding in both aspects of their sound, and he's able to tackle the dramatic, theatrical style that Arena's concepts call for brilliantly.

The musical backing here is squarely in the metal-tinged neo-prog style the band have been offering up since Contagion, but it's Wilson's exceptional vocals which really push this over the finish line, making it perhaps the grandest album Arena have ever offered up. The sheer compatibility of the band's established approach and Wilson's well-honed talents shines through, and it's enough to make you want to hear Wilson's renditions of other Arena tracks as well, since I can't think of a single song in their back catalogue which would not become even more compelling with him on the mic.