The Theory Of Molecular Inheritance

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Confession" (2:20) sounds a bit Broadway theatric. Perhaps Damian has done Phantom or Cats. (4.25/5) As with most of the songs here “Field Of Sinners” starts off with scene setting sounds and a restrained intro before building into something more energetic, although this time there’s an unsettling feel as things progress. “Pure of Heart” possesses great, heavy guitars as Nolan lays the foundations alongside Pointer and Amos, while Mitchell injects the urgency. Whereas “Under The Microscope” may well be one of the less heavy songs, but with Wilson turning in another fine vocal and Mitchell adding light and shade to Nolan’s excellent keys before the pair spark off each other to even greater effect, it’s just as hard hitting.

Despite being the most likable Arena album I've heard (so far, I've only heard The Visitor, Immortal? and Contagion), band ramps up for the final 90 seconds with its choral repetition of the song's title. A very solid studio song. The Theory of Molecular Inheritance is an imposing release, where a dark and smouldering sense of lyrical drama is perfectly conveyed in music which exudes a rich, dynamic plethora of ever-changing instrumental interactions and a thrilling creativity which continually propels the listener forward. For me, it is a most welcome and compelling celebration of Arena at their very, very best.It would be a surprise if this album is not to be at the very top of my annual list this year and that despite of the beautiful An Hour before it's Dark by Pointer's former mates.I can't wait to hear the new songs live but I'm also very curious to see and hear how the older work sounds with Damian as vocalist. It can hardly be otherwise than that it must be an added value. I understand he's already rehearsing Solomon. thing I can actually nag about is the fact that Mitchell's solos could be more present and more plentiful, but Field of Sinners" (6:27) has a cinematic quality as well as a Thin Lizzy "Jailbreak" sound and feel to it. Nice guitar PINK FLOYD "Comfortably Numb" chorus takes over. Speeding along after that is some excellent racing prog with and his voice really shines on Arena's tenth studio album! Furthermore, The Theory Of Molecular Inheritance

The album closes with Life Goes On, which is quite simply a paeon to the mix of science and faith. Our existence here is only a part of the universe, and it is here that I empathise with the album and Nolan very much. I am a man of faith, but I am not a man of organised religion, responsible for many ills in our history. I do deeply believe that there must be a purpose to all of this, an infinity of souls as the song transposes. The final passage musically soars alongside Wilson’s forceful emotive insistence that life does go on. Brilliant and deeply moving. The tenth Arena studio-album should have been out somewhere in 2020 with new vocalist Damian Wilson (Headspace/Threshold) making his debut, but through circumstances (including the pandemic) recordings and tour arrangements were postponed. It took another two years for there was finally some new work available. The band is currently touring the UK promoting their latest epic release ‘The Theory Of Molecular Inheritance’. KEY MEMBERS REMAINED CONFIDENT

Thanks to the addition of an exceptional singer with a unique voice, Damian Wilson, known primarily for his work And then, Nolan and Mitchell, what a perfect combination these two make. As a keyboardist and composer, Nolan is the undisputed engine of Arena and he has once again created a wonderful range of beautiful sounds and parts with a few shorter solos but also a very long one. Super guitarist Mitchell has also become a very important link within the band and his playing is so diverse and so tasteful. He certainly gets room for a few of those mighty solos that have it all and really get under your skin, but mostly plays in the service of the songs. instrumental work, with Nolan and Mitchell shining as always, perfect on their respective instruments. In case you can’t already tell, I’m a fan. I’ll go even further: this is probably my album of the year (contending with Lonely Robot’s A Model Life) and what follows is nothing less than a screed of uncritical pietas for anyone who cares to listen as to exactly why. Twenty-One Grams" (6:34) stereotypic drum play beneath the heavy verses but not in the more delicately

point in their career. The golden era with Rob Sowden was behind them, and it didn't seem like things were going A word of warning for those of a delicate nature: stop reading now. This is unashamed, unabashed, fan-boy fawning masquerading as a ‘review’.

I do have a few minor comments with an emphasis on minor. For me, Mitchell's role should be just as big as on The Visitor, especially when it comes to solos. Or those tasty intermezzos like Elea and Serenity. You can hear this in his solo project Lonely Robot. (But that's where the music appeals to me a bit less) For me the music could also be a bit less heavy, but I realize that this is a process that has already started on the previous albums. Just a choice and we as fans will have to accept that. keys by Clive Nolan and a majestic guitar solo (with Celtic influences?) from John Mitchell. Finally, disinterested to find out who.) A solid song with nice textures and layers but nothing new or special here. (8.75/10) Integration lyrically takes us to the heart of the theory, with those molecules of life spreading through time and taking hold like a virus. Is talent down to nature or to nurture? This is, of course, something humankind has been asking forever, and, by the way, a conversation every single knowing parent has about their offspring, whether they turn out to be talented or a disappointment. Nolan’s keyboard on this is joyful and defiantly uplifting, and when Mitchell joins him, and you hear the bass and drum pounding under these, you forget about all the depressing news we hear, excepting, perhaps, to wish that some of those talented molecules would bond with some of our present-day political leaders. God knows, we could do with it. Put that aside, though, because this is at its heart a gorgeously uplifting piece of music. A buy or die album for melodic prog lovers and yes, Damien rules, what a throat indeed! Listening tip: Under