Warthur 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.

Warthur Another album in Arena’s now-customary style, offering up more theatrical neo-prog with an uncanny atmosphere. Clive Nolan’s sensibilities as a songwriter are once again let loose, and whilst for the most part the general approach of recent albums by them still applies, they do throw in The Legend of Elijah Shade at the end - a 22 minute epic and a mini-musical in its own right. The section titles (Veritas/I Am Here/Saevi Manes/It Lies/Tenebrae/Omens/Redemption) spell out “VISITOR” and some other lyrical nods suggest a semi-sequel (or prequel?) to that album, whilst in terms of size it's the first time the band have turned out an epic track (as opposed to weaving together individual tracks) since Moviedrome on Immortal? - so old-school Arena fans will no doubt rejoice, but at the same time the track is strong enough to avoid being a mere exercise in length for its own sake.

siLLy puPPy 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.

Warthur A concept album based on the classic M.R. James ghost story Casting the Runes, Arena's The Unquiet Sky might have a uniquely terrible album cover - seriously, it looks like something out of that era in the 2000s when bands kept trying to do CGI album covers but cheaped out on the rendering - but it's a rather grand little album, perhaps the group's best outing since Contagion or The Visitor. It's certainly prioritising the theatrical over the experimental, but there's always been a strand of prog that's done that - especially in the neo-prog subgenre - and it's certainly a stirringly emotive set of tunes which lean a bit harder into the heavier side of the band's sound.

Warthur Paul Manzi makes an immediate splash as Arena's newly-minted lead singer on this album, opening as it does with a chilling unaccompanied vocal from him before the rest of the band comes crashing in on The Great Escape. It's a moment which sends chills up the spine and immediately makes him stand out, and whilst the musical accompaniment might be comparatively simple - it's fairly straight ahead neo-prog from the more melodic rock, less progressive side of the aisle, with some heavier sounds present - it does provide a compelling spotlight for Manzi's emotive, theatrical vocal style.

From Rapture onwards, a somewhat more varied sound creeps in, the band spreading their wings a touch more and bringing back more of their progressive influences now that Manzi has been given a big spotlight moment to introduce him. John Mitchell's guitar work keeps things heavy, Mick Pointer on drums is joined by John Jowitt on bass to reunite the rhythm section of Pride and The Visitor, and Clive Nolan's keyboard work takes in sound ranging from the 1980s heyday of neo-prog to more modern sounds which help keep things fresh. As is often the case with Arena, this isn't absolutely top-tier classic neo-prog stuff, but it's certainly an entertaining exercise in the genre and worth a listen unless you outright dislike the style.