For those who have only discovered the underground progressive scene since the advent of the internet and glossy magazines it may be difficult to think of a time when the only way to read about what was going on was by purchasing fanzines written by the dedicated (and insane, it must be said). Many disappeared after a few issues (Blindsight), some stayed for years (The Organ, Feedback, Acid Dragon) and others became websites (Background), but for the purpose of our tale we need to think back to the strangely anarchic and weird Silhobbit. Not only were the people behind this diehard proggers, but they also had a somewhat weird sense of humour and felt inclined to take the piss out of all and sundry (including yours truly). One of the people they castigated was Mick Pointer, and when he discovered what was going on he threatened to sue, so the guys quickly put him in touch with Clive Nolan so he could explain that it was all in good faith. This led to many conversations about music, and before anyone knew it the decision was made to form a band.
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.
