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.

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.

lukretion 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]