ARENA

There is nothing stellar about Arena but there are also no obvious weaknesses. Everyone is more than competent with their instruments and even Sowden's vocals fit that same description. He never drifts out of range and never fails to deliver a performance that is both credible and meaningful but at the same time is never overly impressive. Like the rest of the band: better than adequate but not world beating. Put the performance together with great compositional talent and a firm concept and you arrive at Contagion, an album that demands a full listen and which leaves you with indelible imprints on the brain for many days afterwards. I will say that those imprints are largely vocal hooks which in some ways is a little disappointing but in the end this is great entertainment.

There are highs and lows as Arena drive us through the emotions attached to the narrative and do a great job of leading us through the story without any real need to study the lyrics. As said the production is very slightly murkier than the highly polished IQ albums of the 2010s and I think that is well suited to the theme because it adds a layer of distress that further enhances the narrative which would easily be undermined by over-sanitization. There is a little too much repetition in the lyrics for my liking because it is those chorus sections that stick in the mind and tarnish the album's credibility as a prog classic. It is a prog classic but this is one of those minor issues that knock it back a touch. I will also say that there is slight imbalance between vocals and the rest of the music and I think this is typical of the more theatrical endeavours of the neo-prog genre. We are not talking about the vocal excess that comes with Ayreon's worst moments but I do think I could live with a little less vocal and a bit more guitar and keyboards leading the way.

If you take the album as a whole and many of the individual tracks then a progressive signature is stamped across pretty much everything although a couple of tracks would lend themselves to individual release as singles; although I don't know that anything ever was. Quite right too, this is a concept album and it needs all the constituent parts to remain relevant. With the strongly melodic composition and edgy but considerate style this album does have a level of general appeal that could easily see the band gain some recognition beyond team prog but in the modern world of near limitless musical availability it seems unlikely but also a real pity. For those that look down on neo prog, this one will not surprise you but for those that enjoy it then this one should be in your collection and dare I say you should sample a few more from this band. I know I will.

I greatly favor albums that take many directions while maintaining a strong flow. This album kept me on my feet, thankfully. I suppose a part of me is already used to this more accessible form of prog, but there's a fine line between "accessible prog" and "flat-out pop rock pretending to be prog like Asia." Honestly, Marillion is close to the latter. THIS, however, is completely different. Immortal captures the full spirit of prog while maintaining that synthesizer-driven accessibility that makes the genre what it is. On top of that, this seems to be where they took a darker and more mature approach in general. I'd say the strongest example of the raw neo-prog sound is the fifth track, Climbing the Net, which shoves great synth melodies in your face. Previous tracks seemed to love diversifying. Much like King Crimson's Red (my favorite KC album), this starts out with a prog epic often tagged "metal," Chosen, and I was deeply impressed with its balance between proggy mutation and rock accessibility. Following that is a spirited acoustic rock song, a prog epic and then a darker and more electronic exercize in industrial, mystifying backing effects.

And then comes he 20-minute "Moviedrome." Now for a prog fan, a 20-minute epic shouldn't be daunting at all, but this is neo-prog we're talking about. Just how accessible could a 20-minute song be? I went into this one thinking that Arena had better pull the best ideas they've ever had out of their pants and get to work. For the most part, they did just that. This is where their visual lyricism comes into full force while the music uses its slow pacing and classic prog influence properly to keep the 20 minutes alive. After soaking all of that, it's only appropriate to end it all with a soft rock song.

I'd say this was a much stronger idea of what I was looking for in neo-prog. This blew the Marillion, IQ and Magenta albums I had heard before out of the water. This was just what I needed to restore my faith in an otherwise samey and overdone subgenre of prog.

"Live & Life" is the third live album of Arena that was released in 2004. It provides the perfect companion for any true Arena's fan, capturing the sights and sounds of the group on their successful "Contagion" live tour which was released in 2003. "Live & Life" is a double CD that boasts the complete concert program from that live tour, recorded during numerous live performances. The DVD, with over forty minutes long, is a documentary that explores the journey taken by both, the band and the crew during all the live tour. With this, Arena set another highlight in their band's existence.

About the places where the tracks were recorded, it wasn't mentioned from what live concerts the recordings were taken to release this live album. However, and merely as a curiosity, the "Contagion" live tour occurred in several places of many countries, almost all in Europe and two in the North America, in Canada. So, beyond Canada, here's the list of the following European countries where they released the live tour: Germany, France, Belgium, Holland, Switzerland, Hungary, Poland, Slovakia, Austria, England, Scotland, Spain, Italy, Denmark, Sweden and Norway.

Arena is a very interesting prolific band in terms of live albums. With only five studio albums at the time, the band released three live albums, including "Live & Life" which is their third live album released in seven years. And the most impressive thing is that Arena had only released the studio album "Contagion" plus two EP's with original tracks "Contagious" and "Contagium", between their second live album "Breakfast In Biarritz" and this third one "Live & Life".

"Live & Life" has twenty-two tracks and is divided into two CD's and a DVD. The CD 1 has twelve tracks. All tracks were originally released on their fifth album "Contagion". So, of the sixteen tracks of "Contagion", twelve are presented here: "Witch Hunt", "An Angel Falls", "Painted Man", "This Way Madness Lies", "Spectre At The Feast", "Skin Game", "Salamander", "Bitter Harvest", "City Of Lanterns", "Riding The Tide", "Cutting The Cards" and "Ascension". The CD 2 has ten tracks. So, from their debut album "Songs From The Lions Cage" we have the eighth track "Solomon" and the ninth track "Jericho". From their second album "Pride" we have the tenth track "Crying For Help VII". From their third album "The Visitor" we have the first track "Serenity", the third track "Double Vision", the fourth track "The Hanging Tree", the fifth track "(Don't Forget To) Breath" and the seventh track "Enemy Without". From their fourth album "Immortal?" we have the second track "Chosen" and the sixth track "The Butterfly Man". The DVD, as I mentioned before, is a forty minute documentary following the band and crew on tour, packed with both on and off stage footage.

On "Live & Life", Arena delivers what they do best, namely technically down-to-earth Neo-Prog and were everything is played with crystal clarity and precision. Live, their studio material comes out of the speakers compact, but also with little surprise, as the quartet sticks pretty much to the studio versions. As for the band's individual performance, the band is in the foreground and a soloist rarely comes to the fore. Only guitarist John Mitchell has an outstanding individual talent. Therefore, it's above all the repeated soaring guitar solos, the crunchy riffs or the elegiac individual actions that set the different scent marks that give to Arena something like an independent sound. Clive Nolan's ever present keyboard work is always performed with taste and purpose. Bassist Ian Salmon and drummer Nick Pointer form a powerful rhythm section while Rob Sowden's vocals are aggressive, calm, and passionate when they need to be without ever crossing the line into gender-bending territory. So, "Live & Life" has a good atmosphere and is very well played tailored to the broad mass taste of Neo- Prog lovers. It shows that Arena is a very solid band when perform live.

Conclusion: Finally, Arena made it. With "Live & Life" Arena was able to do a live masterpiece. It's true that the other two previous live albums "Welcome To The Stage" and "Breakfast In Biarritz" are two excellent live albums. But, I always had the feeling that lacked to them something to can be considered masterpieces. I always thought that lacked to them some diversity, creativity, passion and a certain flame. The selection of tracks here was excellent. First, the band had the intention to include on the first CD only songs from their new studio album, at the time. Twelve out of the sixteen songs from "Contagion" were included. So, we can consider this CD is the "Contagion" live album. Second, the band had the intention to include, on the second CD, tracks from all their other studio albums. The selection was also great. Still, we may question the inclusion of "Crying For Help VII" from "Pride", when there was much better options on that album such as "Welcome To The Cage?", "Medusa" and especially "Sirens", which would be much better options. In relation to the DVD, I must say that it's very interesting, especially to Arena's fans. You can see on it several activities of the preparation of the live performances, some images from the live show itself and some very brief interviews of the band and crew members and, as well as, after the live shows, some also brief interviews with some fans of the band.

Prog is my Ferrari. Jem Godfrey (Frost*)

Opening up the album with the dense and somewhat anthemic 'Time Capsule,' a solemn tone is set for the record that would be pretty much maintained throughout its entirety. The next couple of songs are mostly based on the masterful interplay between John Mitchell and Clive Nolan, or the guitar and keys respectively. In any case the band's sense of the gradual dramatic build-up is on display here, while the album also bolsters several mellow pieces, much in the tradition of their classic releases from the late 90s/early 2000s. The more peculiar moments, the unusual shifts in the songs' tone are present on numbers like 'The Heiligenstadt Legacy', 'Field of Sinners' and 'Part of You' - all incredibly strong compositions in which the technical prowess of the band members is effortlessly integrated with their songwriting capabilities, topped by the fantastic vocals of Wilson. There is a particularly mesmerizing quality of each album having Damian Wilson as lead vocalist, and this one is no exception - his fit into the universe of Arena is a tremendous success and the combination has resulted in one of the most consistent, well-written and technically excellent albums of 2022. A great return to form for one of modern prog rock's most compelling acts, after a series of less enthralling releases over the last decade.

That chemistry is a strange thing is evident from the fact that the two have been each other's musical partners for over a quarter of a century now and are still driving the band Arena forward, despite numerous lineup changes. Interestingly, Arena was initially intended as a one time project. That turned out quite differently.

Characteristic of the band's sound is the infectious combination of playful keyboard work and heavy drums, which places Arena in the realm of intense neo-prog. Guitar, bass, and vocals complete the picture, and although the lineup has changed frequently, the band's sound has never drastically altered. It's safe to say that Arena secured a lifelong credit with the release of "Songs From The Lions Cage" on February 6, 1995.

I still vividly remember my first listen. The Netherlands was gripped by the flooding of the major rivers, and while NOS was reporting on the dramatic events, the postman delivered a square package from England. Against my usual habit, the package remained unopened, and the TV stayed on. When the broadcast ended, I positioned myself between the speakers and witnessed an overwhelming sonic flood.

Since then, I always associate "Songs From The Lions Cage" with the turmoil in southern and central Netherlands at that time. For instance, the intense riffs of guitar and bass in the intro of the overwhelming Out Of The Wilderness absolutely evoke images of people lugging sandbags. The strong keyboard playing and powerful guitar extravaganza, in my view, represent the power of the water, as does the bombastic rhythm section. Although these associations are purely my own, I didn't miss the numerous Biblical references in the lyrics. Unfortunately, I can't say much meaningful about them, so you'll have to make do with my flood story.

Valley Of The Kings features an enormous keyboard solo. In this, I see the vast expanses of flooded land, while the Mellotron can be seen as the invincibility of mankind. The extensive harmonies in Jericho symbolize, to me, the solidarity of the people, and the beautiful Pink Floyd-esque guitar solo in Midas Vision at least represents the good feeling that comes with it. The closing track, Solomon, deserves a place among the best epics of all time. Besides everyone involved, guitarist Keith More and vocalist John Carson are primarily responsible for this. More plays brilliantly, especially during the metal section in the finale and the euphoric closing melody. It's all so full of emotion. The images from the TV broadcast deeply moved me, and I hear it all reflected in the way Carson sings. He sounds desperate, pleading, and above all, very combative.

In addition to these five band songs, the album features four short pieces, each appearing in the even numbered positions. These parts are called Crying For Help and vary with each iteration. They range from acoustic guitar to harpsichord, from New Age with a telephone to a delightful prog track where a beautiful guitar solo by Steve Rothery stirs the emotions.

"Songs From The Lions Cage" is a powerful album that you never tire of discussing. Not now, not ever!

Originally posted on www.progenrock.com

It is strange to think that was 30 years ago, and I recall sitting in a pub with Clive and Mick discussing the future of Arena and 'Songs From The Lions Cage'. I just re-read my review from back then, and in capital letters I put "ARENA ARE GOING TO BE MASSIVE", but I don't think any of us expected the band still to be going 3 decades later. At one point they suffered with so many line-up changes that the in-joke was never to stand on the side of an official band photo, but Clive and Mick are still there, while John Mitchell has been there on guitar since 1998's 'The Visitor'. Bassist Kylan Amos has been there for more than a decade, but when Paul Manzi left after 2018's 'Double Vision' who would be the new singer? I don't think anyone was surprised when Damian Wilson stepped up, as his relationship with Clive goes back more than 3 decades with the debut Landmarq album, and to my ears he has been one of the finest singers in the scene throughout that time.

This album was recorded at various venues during their 2022 'Theory of Molecular Inheritance' tour, and features material not only from that album but going all the way back to the debut. Wilson thrives in the live environment, as anyone who has been fortunate enough to see him perform in Landmarq, Threshold and more will attest to (I first saw him play totally solo with an acoustic guitar at The Marquee supporting Shadowland and Jadis, those were the days). Knowing there is a singer out front who will knock it out of the park consistently allows the rest of the band to relax into their roles and the complex neo prog they provide fits like a glove. Mick Pointer is playing better than ever, with nice fills and cymbals but knowing when to add and when to take away, while Kyle is right in the pocket. Then we have John and Clive, both consummate musicians who appear to live only in a studio or live environment, with little room for anything else.

Clive has been responsible for many of my favourite albums over the years, and this collection shows just why Arena are such a force to be reckoned with. In Pendragon he is just a player, and when he is writing his musicals or projects, he focusses his style in that area, but Arena is the band where he really shows his progressive roots and demonstrates why he is such an important key figure within the scene. This is neo prog which is exciting, vibrant and massively over the top in every facet.

To hear these songs being performed with such power and panache is amazing, and if anyone has somehow managed to miss out on Arena over the last 30 years then this is definitely the place to start.

The first Arena album I ever listened to. Released in '98 it was the first proper studio album to feature JOHN MITCHELL on guitar, who delivers some amazing guitarwork on this record.

I am listening to this record whilst writing this review, so sit down, have a cuppa and join in!

1. A Crack In The Ice: Brilliant opener. Was immediately hooked while listening. The song is an absolute rollercoaster ride from start to finish, GOD that riff is brilliant. Ends with some ambient sounds before going into the next song.

Rating: 5/5

2. Pins And Needles: The song starts with some mellow acoustic sounds, building up with drums and some synth sounds.

Rating: 4/5

3. Double Vision: Immediately you're greeted by an amazing guitar solo with Mick Pointer bashing along. Nice instrumental work in the middle section!

Rating: 4.5/5

4. Elea: Great interlude with a nice guitar solo near the end.

Rating: 4/5

5. The Hanging Tree: I really like how this song builds up, you really can hear how much effort was put into it's creation. For a prog song the chorus really is tempting you to sing along. Also I really enjoy the texture CLIVE NOLANs keyboard work adds. One of my favourites of the album.

Rating: 5/5

6. A State Of Grace: AMAZINGAMAZINGAMAZINGAMAZINGAMAZING

Rating: 5/5

7. Blood Red Room: Mellow, ambient interlude to

8. In The Blink Of An Eye: Great keyboard and guitar work here. It has a great chorus and the instrumental work is absolutely phenomenal.

Rating (7+8): 4.5/5

9. (Don't Forget To) Breathe: Some 'Lofi' sounds start this song, switching into a cleaner mix for the second verse. Really like this one.

Rating: 4/5

10 Serenity: Mellow interlude into:

11 Tears In The Rain: Again, some amazing guitar solos in here. This song really builds up amazingly. Can't deny the MARILLION influence.

Rating (10+11): 4.5/5

12 Enemy Without: Great Riff, great drumming, simply an awesome song. Christ, that chorus! SO GOOD! Love the reprise of the 'Crack In The Ice' Riff.

Rating: 5/5

13 Running From Damascus: Yeah it's good!

Rating: 5/5

14 The Visitor: Starts again with some acoustic guitars and singing. backed by a glockenspiel. Uuuuuhhh, it builds. A great, emotional closing track. That last guitar solo just killed me. What a terrific song!

Rating: 5/5

Final Rating: 5/5

Truly a Neo Prog masterpiece! Bravo, ARENA!

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.