To this day still led by one of the godfathers of neo-prog Clive Nolan, Arena have been around since 1995, with keyboardist/songwriter/lyricist and Pendragon/Shadowland man Nolan still leading the band along with co-founding member drummer Mick Pointer (original Marillion drummer) to this day. There have been multiple changes in the ranks however ‘Mr Prog Guitar’ John Mitchell has been in the band since ’97.
I’ve always had a soft spot for British prog and it doesn’t get more British than anything involving Nolan, the whole neo-progressive sound can often be considered a little twee or too clever for its own good, but it is certainly one of the most recognisable genres in the progsphere, drawing from Gabriel-fronted Genesis, Marillion and Camel as well as being contemporaries of Marillion, IQ and Frost*, the interchangeable, incestuous nature of the British prog scene meaning that at one time or another members of several of these bands have been in Arena and vice versa.
However with bassist Kylan Amos a part of the band since 2014, only the vocals have changed for this record as Paul Manzi was replaced by Damian Wilson in 2020 when this album was recorded. Wilson of course has fronted several prog rock and metal acts so his soaring clean is perfect for the cinematic, melodic music that Arena are known for. There’s been a wait for this record, originally due in 2020 but it was worth it as this is a sound of a revitalised Arena, playing a type of music that is intelligent but not ponderous, the longest track being Under The Microscope which is nearly 7 minutes.
Musically a collaborative effort between the band, lyrically Nolan is inspired by theoretical physics and mathematics the scientific elements discussed with Luis Nasser of the band Sonus Umbra who also happens to be an associate professor in physics at Columbia University in Chicago. I won’t go into the scientific side but it boils down to being about the inherent equation that makes up life. Highbrow beard stroking, but delivered by intensely melodic prog.
The propulsive guitars of John Mitchell paired with Nolan’s widescreen keys in harmonious union, they provide the fluid melodies for this record, Mitchell’s scaling leads adding something extra to the AOR-ish Field Of Sinners. The drumming of Pointer controlling the candour of the whole record as Nolan’s piano anchors the theatrics of Confession and The Heiligenstadt Legacy, the former letting Wilson re-live his stint in Les Mis. Wilson as usual is fantastic, his voice a brilliant addition to the Arena sound, so I’m hoping he sticks around for a while. Similarly Kylan Amos’ bass playing is understated but never simple as Twenty-One Grams attests, he also did the great artwork/package for the record.
Nearly 30 years into their existence and Arena are still one of the pillars of neo-prog, The Theory Of Molecular Inheritance one of their most impressive albums to date. 9/10
Abduction – Black Blood (Candlelight) [Steve Walsh]
If there is a competition (albeit one that’s mostly in my head rather than occupying much time in the minds of the bookies at Ladbrokes) for the best upcoming UK Black Metal band, Derby’s Abduction must surely be a front runner. Starting as a solo vehicle for an enigmatic figure known simply as ‘A|V’, the ‘band’ released three albums in quick succession before going relatively quiet over the last two years (although, to be fair, most of us did). This seems to have prompted a rethink because Abduction are now a proper band, and, as a storming performance at last years Damnation Festival proved, quite a formidable aural and visual experience.
Opener Kernos Crown sets a solid base for the album, with thundering drums and a swirling mesh of interlocking guitars. But thereafter most of the tracks display characteristics of other genre and are not content to simply regurgitate BM tropes. Undoubted centrepiece of the album is Plutonium Gate, an eleven minute epic that moves from monastic ritual like vocals though rolling, roiling guitars and drums punctuated by an abrupt stabbing chorus and a couple found sound or ambient interludes to culminate in hurtling, screaming closing section that concludes with a glorious fists-punching-the-air coda and a dead stop that feels like falling off a cliff edge. Phew, quite a ride.
Lightness At The Grand Conjunction has a slower pulse underneath the sheets of guitar and an almost abstract structure, parts of which sound like it could be a ballad if it were stripped of the electric guitars. Oddest of all is A Psylacybic Death, which, as the title would suggest, is a disorientating plunge into a psychedelic BM nightmare. Final track, In Exaltation Of The Supreme Being, could almost be a companion piece to Kernos Crown and completes the circle back to something more typically BM.
Along with the skilfully orchestrated multiple guitars, A|V’s voice is a key feature of the bands overall sound. It’s always a guttural growl but the lyrics are often clearly discernible, and he always sounds just human, not at all like he’s trying to emulate one of Satan’s minions. BM bands often seem to strive to be as cold and detached as possible, but there’s a warmth and humanity about Abduction that helps to set them apart. 8/10
Abduction – Black Blood (Candlelight) [Steve Walsh]
If there is a competition (albeit one that’s mostly in my head rather than occupying much time in the minds of the bookies at Ladbrokes) for the best upcoming UK Black Metal band, Derby’s Abduction must surely be a front runner. Starting as a solo vehicle for an enigmatic figure known simply as ‘A|V’, the ‘band’ released three albums in quick succession before going relatively quiet over the last two years (although, to be fair, most of us did). This seems to have prompted a rethink because Abduction are now a proper band, and, as a storming performance at last years Damnation Festival proved, quite a formidable aural and visual experience.
Opener Kernos Crown sets a solid base for the album, with thundering drums and a swirling mesh of interlocking guitars. But thereafter most of the tracks display characteristics of other genre and are not content to simply regurgitate BM tropes. Undoubted centrepiece of the album is Plutonium Gate, an eleven minute epic that moves from monastic ritual like vocals though rolling, roiling guitars and drums punctuated by an abrupt stabbing chorus and a couple found sound or ambient interludes to culminate in hurtling, screaming closing section that concludes with a glorious fists-punching-the-air coda and a dead stop that feels like falling off a cliff edge. Phew, quite a ride.
Lightness At The Grand Conjunction has a slower pulse underneath the sheets of guitar and an almost abstract structure, parts of which sound like it could be a ballad if it were stripped of the electric guitars. Oddest of all is A Psylacybic Death, which, as the title would suggest, is a disorientating plunge into a psychedelic BM nightmare. Final track, In Exaltation Of The Supreme Being, could almost be a companion piece to Kernos Crown and completes the circle back to something more typically BM.
Along with the skilfully orchestrated multiple guitars, A|V’s voice is a key feature of the bands overall sound. It’s always a guttural growl but the lyrics are often clearly discernible, and he always sounds just human, not at all like he’s trying to emulate one of Satan’s minions. BM bands often seem to strive to be as cold and detached as possible, but there’s a warmth and humanity about Abduction that helps to set them apart. 8/10
Amputate - Dawn Of Annihilation (Massacre Records) [Matt Cook]
The first (and really only worthwhile) installment of the Saw franchise sees Dr. Gordon violently grind his foot off with a rusty saw in order to free himself of the chains that bind him in an abandoned, musty bathroom. Aside from the obvious connection, that iconic scene came to mind when listening to Amputate’s latest foray, Dawn Of Annihilation. The blood-soaked screams of terror, whip-lashing drum lines and jaw-breaking percussion also did the trick. These eight songs are gangrenous and infected, poisoned beyond repair.
Tom Kuzmic is hoarse as fuck and spurns the electrifying tempo. His foundation-toppling screams of dominance featured on the title track, which sounds like it could be about the Manhattan Project (“What have we done?”), covers the operating-room walls with viscera and bone marrow. Not to be outdone, Max Grinder (who is not in fact a male stripper, though that can’t be immediately corroborated) mans the kit with vicious machinations and fuming animosity. And the string work devised by Kuzmic and fellow guitarist (and backing vocalist) Nuno Santos adds a lustful element of thrashy solos and virtuosic shredding, culminating in catchy, old-school, chunky refrains.
The record concludes with Buried By Ashes, which is frenetic while at the same time harboring a variety of different techniques and styles that fluidly combine for a rugged close to the album. To call Amputate’s sophomore effort anything less than Dawn Of Annihilation would be doing it an injustice. Over the span of 35 minutes, the floor of the ER is bathed in blood, bile and bone matter. All while the four-piece looks on with sinister grins affixed to their demonic faces. 8/10
Sea Of Snakes - The Serpent & The Lamb (WET Records) [Rich Piva]
The Los Angeles stoner rock band Sea Of Snakes have unleashed their full-length debut on us, and I must say it is quite a nice was to introduce themselves to the masses. The band has had a couple of singles and EPs but with their first long player, The Serpent & The Lamb, the band have begun to establish themselves as a force in the US stoner rock scene. We have got an absolute banger to kick us off with Start A War, which is an upbeat stoner anthem with a nice doomy breakdown halfway through. Jason Busiek’s voice goes from husky and whiskey drenched to a higher octave with the greatest of ease. The vocals are killer throughout The Serpent & The Lamb.
The Los Angeles stoner rock band Sea Of Snakes have unleashed their full-length debut on us, and I must say it is quite a nice was to introduce themselves to the masses. The band has had a couple of singles and EPs but with their first long player, The Serpent & The Lamb, the band have begun to establish themselves as a force in the US stoner rock scene. We have got an absolute banger to kick us off with Start A War, which is an upbeat stoner anthem with a nice doomy breakdown halfway through. Jason Busiek’s voice goes from husky and whiskey drenched to a higher octave with the greatest of ease. The vocals are killer throughout The Serpent & The Lamb.
You gets riffs a plenty with Demon Seed, which has serious proto vibes while also reminding me of Corrosion Of Conformity. Get The Gun has some very early Soundgarden vibes and maybe even a little bit of Tad. Bluesy riffing opens End Of The Sun and is the Sabbath worship portion of the program. Some AIC vibes and bluesy psych leaning noodling is front and center on Dead Man’s Song coupled with an excellent and emotional vocal performance from Busiek. Third Kind has some cool layered vocals, a catchy hook right out of 1993 as well as a very cool frantic solo.
In Hell has a killer proto riff and is the most “metal” track on the record while God Of Creation is more on the COC tip and very well done. Hands Are Tied and The Ritual are a killer one two stoner punch to wrap up this sweet debut. Stoner rock with a bit of doom, a dash of grunge, and a pinch of 90’s heavy alt rock all comes together nicely for this killer debut album. Fans of COC and some of the filthier grunge stuff will really dig this record. Sea Of Snakes will be a force to be reckoned with in the scene if The Serpent & The Lamb is any indication of what the future holds for the band. Excellent debut record that should be checked out by fans of the genre. 8/10
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