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THE VISITOR REVISITED
Last year was a very good year for Arena - it saw the release of their best selling album to date (The Visitor), a brilliant European tour and, on top of that, they acheived great success at the annual Classic Rock
Society awards in December.
Then came the announcement, earlier this year, that the band had parted company with their singer Paul Wrightson - an announcement that no doubt came as a shock to many of their fans.
They have undergone personnel changes in the past but, in the band's short history, this would be their third change of vocalist, and the big question in my mind was whether this was a change that they could survive! For anyone with any doubts at all on this point 'The Visitor Revisited', with the introduction of new front man Rob Sowden, answers with an emphatic 'YES!'.
The first five tracks on the album give us a clear measure of Rob's undoubted talent as we are treated to unplugged versions first of 'Medusa', from the album 'Pride', and then masterful performances of 'Pins and
Needles', 'Don't Forget to Breathe' and 'Tears in the Rain' (from 'The Visitor').
These tracks are real gems, showing Rob has a richness and clarity which conveys a depth of feeling that never quite came across on the original work and we get to hear 'the Visitor' performed at its best! The final track in the first section, 'Crying for Help IV', presents Rob's vocals against a quiet piano backdrop - the production is fantastic - and boy can Rob sing!
On the other side of the coin we are then treated to a further five tracks recorded, during last year's Visitor tour, at the Paradiso in Amsterdam.
These give us a chance to enjoy Paul's live talents for a final time! The tracks that provide the most interest in this batch are 'Double Vision', 'Elea' and 'The Hanging Tree' (all from 'the Visitor'). The vocal style is much rougher than the new singer's, but nonetheless, it has an edge to it that provides a degree of raw power to the band's live performance. These are followed by 'Jericho' and 'Soloman' (originally from 'Songs from the Lion's Cage) which do not appear to have been heavily re-mastered, as so often happens with live performances, and, as a result, they suffer somewhat from having to high a drum mix. In addition, both these tracks appeared on the band's live 'Welcome to the Stage' album and so there is really not too much to get over excited about here.
The album finishes with a treat for novelty seekers - a demo version of the track 'Enemy Without' sung by Clive Nolan himself!
The song appears with incomplete lyrics, but the real interest lies in the instructions as to how Clive envisaged the vocals going, and the mood of the song from the standpoint of a live performance. A real eye opener!
Finally a mention should be made regarding the packaging. The cover artwork by Mattias Noren provides an excellent complement to the original Visitor album, and the accompanying booklet also has some great
pictures of the band.
This CD is only available from the Arena fan Club (The Cage) but, to be honest, it is worth joining up if only to get hold of this work!
Don't just take my word for it - sign up, buy the album and see just how good Rob Sowden is for yourself, otherwise you will have to wait until Arena go back on the road, with what will be their final Visitor tour, in October.
For full details of the Cage please check out our links page. For any UK readers who worry about sending money overseas, don't - these guys are on the level and provide an excellent service!
Simon 3/6/99
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IMMORTAL?
When Arena released 'The Visitor' in 1997, they received much well deserved praise and won the band a number of awards for their efforts.
Over time the musicianship and the production still continue to shine through and, for me, the sound is as fresh today as it ever was. Now the potential problem with creating a work of that calibre is trying to follow it up with something as good ... well, in Arena's case they have gone a step further and created an absolute gem. 'Immortal?' is not simply as good as 'The Visitor'; in many ways is even better!
Last year was a troubled one for the band in many ways, having to deal first with both a change of vocalist and bassist. The line up switch also effectively forced Arena to undertake a tour - not to promote new
material - but to show they had been able to cope with the personnel changes.
Although from an audience point of view it is sometimes disappointing to lose sight of people they have come to regard as "friends", the influx of new blood into the band has ultimately had a positive effect and Arena have undoubtedly now emerged with their strongest line-up to date.
'Immortal?' has been written by the core team of Nolan, Pointer and Mitchell and allows singer Rob Sowden to really make his mark on the Arena sound - and, at the same time, show would-be critics that he is a force
to be reckoned with. Similarly, bassist Ian Salmon seems to have slotted effortlessly into his role and he brings with him a wealth of experience.
The music throughout has a dark, almost sinister feel to it in keeping with the subject matter - but it still maintains Arena's thoughtful and melodious approach. I won't talk about the lyrics here, other than
to say that Clive Nolan has written what is probably some of his best ever material for this album. For further insight into the thoughts behind the words check out our 'Immortal?' interview with Clive.
So what of the album itself?
What we have here is a collection of songs connected by a common concept, but not following a single story as in the case of 'The Visitor'. There are seven songs in total, most of them around the five to six minute mark, which allows for good mix in terms of mood and style, without any one song becoming too overpowering. The exception is the mini epic 'Moviedrome', but more of that later ...
The CD opens with the tremendously powerful 'Chosen' in which heavy bass and guitar work really set the tone.
In many ways this track follows in the tradition of some of the great classic rock music of the past (eg Zeppelin, Rainbow) but presents the music in a fresh light. The vocals are punchy and well delivered while, I have to say, the chorus is extremely catchy and will have you singing along very quickly. Mick Pointer's contribution on drums is very well laid down, while John Mitchell provides a much more delicate flowing guitar part for the mid section. This in turn is followed by a nice piece of acoustic work as the tension builds up to the finale.
After the force of 'Chosen' the mood changes abruptly with 'Waiting for the Flood'. On first hearing I thought this song was one of the weaker tracks, but this initial impression has proved wrong on repeat
playings.
This is a much slower paced piece with an acoustic edge to it, the bass line is very subtle and the keyboards really create a beautiful backdrop for the vocals. It has hidden depths and qualities which do not come to the surface initially; but are there just waiting to be discovered. If you have heard 'The Visitor Revisited' you will already have some appreciation for Rob Sowden's abilities, and this track is in much the same style. However, I have to say that Rob seems to be so much more natural and at ease singing material specifically written for him.
'The Butterfly Man' is a darker more brooding track close, in some respects, to the mood created by Clive's band Shadowland. Lyrically the song is disquieting and the music during the verses imparts a feeling
of unease.
During the chorus the vocals are imploring and the music, especially the keyboard work, strangely uplifting. The lead guitar work is superb, buoyed up with good solid bass support. A passage linking the main song sections contains some structured disharmony that is very effective, and chanted backing vocals together with a tolling bell effect adds to the chill factor. A pounding insistent bass line leads into the final section where Mitchell's guitar cries out and Nolan's keyboards build to the final reprise. Suddenly, the sound level drops and whispering voices in the background create a claustrophobic feeling in this final quiet section which is followed by the flapping of wings. For me, this is Arena at their all time best. I first heard the mastered version of this song a couple of weeks back. It left a deep impression on me which has been present ever since.
A heartbeat and machinelike rhythms lead into 'Ghost in the Firewall'.
The verses have a steady chattering rhythm, while the chorus thunders - with full-on mellotron effects pouring out a rich full sound. Vocals are slightly threatening and full of menace but, best of all, Rob demonstrates he is more than capable of making the transition between quiet and powerful vocal passages while maintaining full control. This will be a fabulous live number!
'Climbing the Net' has some brilliant fast-flowing keyboard playing that exudes a sense of life and energy.
Now, there is always a tendency to make musical comparisons with other bands and, I can see that if any track on the album comes in for close scrutiny on this score, this'll be the one. I won't say who it'll be with - but if you actually make a true comparison it doesn't really hold up! John Mitchell, as ever, supplies some beautiful guitar work and the driving back beat from Ian Salmon's bass is a real joy to listen to.
'Moviedrome', at nearly twenty minutes, is the major showcase track on the album.
Now, I'm normally the first to criticize long epic numbers on the grounds they tend to be over extravagant, long winded, and often exist simply because it is an expected prog tradition to play long numbers. Here however, I am pleased to say, this is not the case. There is not a minute I would cut from this piece; it holds together perfectly and, I have to say, I never known 20 minutes fly by so fast. It is almost impossible to do justice to a track like this in words and really it deserves a complete review all to itself. This is almost a condensed 'Visitor', a mini-album that stands out on it's own merits, and gives all the band members a chance to shine. Mood and tempo changes abound, motifs appear and are broadened and developed as the song progresses. This is another number that has so much depth that you are sure to find something new on every listen. Bits of 'Moviedrome' have a familiar ring, while other parts assault the senses and really leave you breathless ... 'Moviedrome' certainly has some of the most emotionally charged music Arena have yet come up with.
After the intensity of 'Movedrome' comes 'Friday's Dream'.
This song has a quiet acoustic intro, with a slow build up as the theme is cultivated. The vocals are soft but very focused creating a masterful ballad that finishes the album with a strong and positive aura ... another track that should be an absolute stormer live.
The artwork for the album is another Hugh Symes masterpiece.
The cover picture presents a very disturbing image, but there is so much to look at, including some familiar references which I'll leave you to discover for yourself! Although the promotional copy of the CD was not supplied with the booklet destined for the finished product, I have been lucky enough to see some of the artwork that will be included and, I have to say, it really is outstanding in terms of both quality and content!
I make no apologies when I say that 'Immortal?' is quite simply the best album I have had the pleasure of listening to in a long time. Superb songs, lyrics, musicianship, production and artwork - it's hard to
fault it at any level.
I played 'Chosen' to a colleague of mine in the car on the way to work this morning and as soon as it was finished he wanted to hear it again - and this is the impact of the whole album - it's hard to leave it alone once you have heard it! If you are already an Arena fan you cannot fail to be impressed with what the band have achieved here if, on the other hand, you are not familiar with them then in the words of 'Chosen': "Take a leap of faith if you want to find out" ... go on, you won't regret it!
'Immortal?' - Well, I hope so! Marks out of 10? - 11!!
Simon 21st March 2000
Checkout the Clive Nolan 'Immortal?' interview
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BREAKFAST IN BIARRITZ
Tracklist CD1: Moviedrome; Crack in the Ice; Double Vision; Midas Vision; Serenity; The Butterfly Man; The Hanging Tree; A State of Grace; Enemy Without; Crying for help VII
CD2: Chosen; Elea; Friday's Dream +
CD-Rom Documentary (30 minutes)
Thinking back it seems hard to believe that nearly a year has already passed since Arena released their highly successful 'Immortal?' album, and even harder to get to grips with is the fact that it is now some two
years since Rob Sowden took over from former vocalist Paul Wrightson. At the time, this lineup change was viewed critically by many of the band's fans, but for anyone still not wholly convinced of the wisdom
of that move perhaps this live album will prove the point.
Before going further let me state that I am not generally a big fan of live albums since it is often hard to tell what is really live and what has been re-recorded since.
Well all credit is due to Arena here since 'Breakfast in Biarritz' certainly seems to buck the usual trend. This album was recorded in its entirety at a single show at the Paradiso, in Amsterdam, during last year's Immortal tour. While a degree of re-mixing has taken place, very little in the way of re-recording has been done; the net result of this is that we are left with a fair representation of Arena's on stage capability - a claim I feel fairly confident in making having seen the band on the opening night of that tour.
From a visual perspective the presentation is excellent, and Mattias Noren, who has previously designed artwork for the band's fan club CD releases, has done another superb job, creating a very favourable first
impression.
In terms of musical content, the tracks featured, with two exceptions, are taken from the two most recent studio albums 'Immortal' and 'The Visitor'.
This for the most part avoids duplication with the band's previous live album, 'Welcome to the Stage', and also demonstrates well the more mature approach that the band have developed since the early days. Anybody that simply regards Arena as just another neo-prog outfit should listen to this album to hear just how far they have come.
Since New Horizons has already reviewed the albums from which these tracks are taken, and have also covered the London show which opened the Immortal tour, I do not intend to do a track by track analysis of the album
- this would simply be an exercise in repetition - instead I'll run through some of the major points of order as I see them.
For those who did not manage to catch the band on tour, the set opener, 'Moviedrome', should prove particularly interesting since it is preceded by the introduction track that was prepared especially for the
live shows. This piece has more than a passing resemblance to the opening of Ayreon's 'The Dream Sequencer' - from the sound effects and computerized voice right down to the actual lyrics.
The track proper is superbly executed by all the band members, and Rob Sowden's vocals in particular come over with conviction. The only thing I did not think was too good here was that where the bass, guitars and drums cut in, the mix seems too light, lacking bass emphasis - a problem which crops up through a number of tracks.
Three further tracks from 'Immortal' are featured - on the first CD we have an excellent rendition of 'The Butterfly Man', where Rob again seems to have everything firmly under his control, and then on the second
disc we are treated to 'Chosen' and 'Fridays Dream'; all of which are performed with seemingly consummate ease.
The tracks from 'The Visitor' which tend to come across the best are those where the vocals do not require so much in the way of vocal power, a prime example being 'The Hanging Tree' which comes across quite
naturally.
On some of the more up tempo pieces such as 'Crack in the Ice' there is a noticeable tendency for the vocals to waver but never badly, and if anything this simply helps emphasise the live nature of the album.
Some of the real highlights come with the instrumental sections in 'Hanging Tree' and with the solely instrumental tracks like 'Serenity' and 'Elea'; these serve to demonstrate not only how good the quality of
Arena's music can be, but also shows John Mitchell for the brilliant guitarist that he undoubtedly is.
One thing that I did find more than a little disconcerting however, is that the tempo of some of the tracks seems to be way to fast.
This is particularly true of 'State of Grace', which does not hold up favourably to a personal recording of the London Show (made with the band's permission), and while I love the heavy treatment given to 'Crying for Help VII', the speed of the track really grates.
Overall though I do feel that the songs come across well, and the fact that much of the audience applause is still in evidence helps capture something of the live experience.
That there is very little verbal interaction between the band and the audience however is perhaps somewhat disappointing.
There is no doubt that this is a very enjoyable album, and while it is one that all Arena fans would do well to add to their collections, newcomers to the band might have been better advised to start out with one of
the last two studio albums were it not for the extras included on the current Limited Edition run which really raise this release into the must have category.
At present the packaging lists the second CD as being a bonus disc, and in addition to three audio tracks it also offers a CD-ROM track presenting a superb half hour documentary containing a mixture of interviews and on stage footage of the current band lineup.
This documentary really has been superbly put together and the interview material offers both a fascinating and often humorous insight into the band's history, past and present, as well as providing individual
portraits of each of the band members. All of the on stage footage is well filmed, clear and sharp in detail and it goes a long way towards showing the enthusiasm the various band members have for their music.
Whether you are already an Arena fan or not you will not be disappointed by this album. With its combination of audio tracks and rockumentary footage, 'Breakfast in Biarritz' should be seriously considered by
anyone with so much as a passing interest in the current progressive rock scene.
Simon 19th March 2001
Note for PC owners:
One word of advice for less experienced PC owners - when you place the CD in your computer, if autorun is on your web browser it will present you with a web page inviting you to click
the logo to watch the documentary ... don't!
This option causes the PC to attempt to load the .mpg file into memory before playing it and the load time can be upwards of ten minutes. It's far better to simply open the CD drive using explorer and then go into the MPEG1 directory - double clicking on film.mpg will allow you to watch without any delay.
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UNLOCKING THE CAGE
Tracklist: Enter (The Movidrome); Encore Medley; Crying for Help IV; Jericho; The Visitor; Don't Forget to Breathe; State of Grace; Tears in the Rain; Friday's Dream.
Coming after a two year gap, 'Unlocking the Cage' is the third release to be issued through the Arena fan club, and it forms a welcome addition to the collection of previously unavailable versions of Arena material.
The CD features a mix of live, studio and acoustic tracks, with each of the three vocalists that have worked with the band being represented here.
The accompanying booklet contains an introduction by Mick Pointer, and a commentary on each of the tracks written by Clive Nolan.
Also included are a number of photographs showing the various members that have contributed to the band over the years. The artwork and design come from Mattias Noren, who once again has done a very good job with the presentation.
The opening track 'Enter (The Movidrome)' was originally put together to be played as an intro to the band's live set, and it can be heard in the live setting on the recent 'Breakfast in Biarritz' CD, but the
inclusion of the unadulterated studio recording is nice to have.
This is followed by 'Encore Medley', which incorporates sections from 'Valley of the Kings' and 'Out of the Wilderness' into a single entity which really rocks.
Both of these originally appeared on the very first Arena album, 'Songs from the Lion's Cage'. The instrumentation in this medley has some powerful anthemic qualities and a really upbeat feel, while Rob Sowden's vocals in the closing section add a further element of interest.
Next up come two acoustic tracks: 'Crying for Help IV' and 'Jericho' - both of which were recorded live at the Marillion fan club convention in 1995. Because of the 'unplugged' nature of the show these songs
feature only three of the band members from the time: vocalist John Carson, Clive Nolan on keyboards and Keith More on guitar. The production quality is perhaps not as strong as some of the other pieces on the
CD, with the vocals on 'Jericho' in particular sounding a little on the thin side. Having said that, the performance is very listenable and is worth hearing as it is probably one of the only live recordings
made with Carson in the band.
The version of 'The Visitor' is probably my favourite of all the tracks to appear on this CD.
It is actually a superb follow on to the recording of 'Enemy Without', which appeared on the last fan club CD, as both feature Clive Nolan on vocals. Apart from the novelty value of hearing Clive's delivery, anyone familiar with the song will probably notice that the tune sung here differs noticeably in a couple of places to the final album version of the track.
Coming more up to date - at least in terms of lineup, a live rendition of 'Don't Forget to Breathe' comes next.
This track was recorded at the Paradiso during the 'Immortal?' tour last year and is one of the tracks from the show that did not make it on to the live album. The performance is solid with good instrumental work and strong vocal delivery from Rob Sowden.
The next two pieces, 'State of Grace' and 'Tears in the Rain', are both sung by Paul Wrightson and, like the last track, also originally appeared on 'The Visitor'. These numbers were re-recorded in the studio
as acoustic arrangements and were intended for radio air play.
As with the earlier acoustic numbers, these do not feature the full band lineup but a threesome, with Paul being joined by Clive (keyboards) and John Mitchell (guitars).
To bring proceedings to a close we return to the current lineup once again with 'Friday's Dream'.
This recording was made during a special acoustic gig performed after the band's first show in Holland during their 'Immortal?' tour. This is a song that really works well in this format, and Sowden's vocals capture the spirit of the piece perfectly.
This album is something that anyone who enjoys listening to Arena is going to be glad to add to the collection, but its availability as a fan club only item is probably going to severely restrict ownership.
This is a shame as there are many people who will gladly follow a band but do not like the idea of joining what is often regarded as 'the anorak brigade'. If you fit into this category however, I would urge you to reconsider your position - the last fan club CD, 'The Visitor Revisited' was, in my opinion, a good enough reason for joining The Cage. The addition of 'Unlocking the Cage' to the catalog of otherwise unavailable material makes for a second good reason to join up!
Simon June 6th 2001
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PEPPER'S GHOST
Tracklist: Bedlam Fayre (6.03); Smoke and Mirrors (4.42); The Shattered Room (9.45); The Eyes of Lara Moon (4.30); Tantalus (6.51); Purgatory Road (7.25); Opera Fanatica (13.06)
This year sees Arena celebrating their 10th anniversary with the release of 'Pepper's Ghost', the band's sixth full length studio album to date!
With this new work Arena clearly demonstrate that they are continuing to forge ahead at full steam, and while it is true to say that 'Pepper's Ghost' may contain elements that at times are similar to both 'The Visitor' and 'Contagion', it still manages to present itself as a powerful, fresh work that stands out as being far superior to it's predecessors.
There are seven tracks all told, and although this is not a concept album, the songs do follow an underlying theme, dealing with thought and perception (and perhaps different aspects of insanity).
The song writing is well suited to such themes and from start to finish there is sufficient variety to appeal to a wide range of listeners. On occasion the sound can be hard hitting with keyboards and guitar work neatly meshing together and carrying the listener along at a rate of knots, but at other times there is a softness and subtlety that provides not only a sense of contrast but also a very neat balance.
The album gets off to an atmospheric start with 'Bedlam Fayre' which begins with the sounds of a steam organ intermingled with other effects that give the impression of a street scene before music bursts forth.
This is a fairly fast paced, energetic and uplifting song with a great contribution from the rhythm section.
Mick Pointer's drum work in particular towards the latter stages is worthy of special mention. From start to finish this track really holds the attention and proves to be a great opening number.
'Smoke and Mirrors', while not by any stretch of the imagination a bad number, is probably my least favourite song.
It begins deceptively with a soft instrumental lead in but it is not long before the upswelling keyboards and electric guitar pour on the power, although things do calm down again for the start of the vocals. Overall this is a very dynamic number alternating between light and heavy moments. The high spot for me is a great keyboard section towards the end, but it struck me as too little too late and in the final analysis there just was not enough substance to make this one really stand out.
Another track with a quiet intro is 'The Shattered Room' with its musical box lead in.
The subdued instrumentation and quiet vocal line in the early stages belies what follows as the mood starts to change and the pace picks up. There are several changes in mood and tempo during this piece which is for the most part very upbeat. I can see this working well live, especially with the rocking bass line that gives the track a triumphant finale.
An acoustic guitar sound heralds 'The Eyes of Lara Moon', a song with a slightly disturbing, almost supernatural, vibe to it and there is a sense of almost manic intensity as the track builds and develops. All
in all a very nice little number with John Mitchell's electric guitar work providing a classic Arena sound.
Although initially I found 'Tantalus' to be the least immediate song on the album, successive playings have allowed me to notice aspects of the song that escaped me early on and it has moved towards the top of my
preferred list. The plaintiff vocal line certainly strikes a chord and Rob Sowden's vocal style here certainly does credit to the lyrical content.
I don't want anyone getting upset here but I have to say that 'Purgatory Road' is an out and out pop song if ever there was one - and it's great!!!
Great bass work from Ian Salmon and a rocking keyboard sound make this a hard one not to like. Furthermore the extremely catchy chorus hooks the listener on the first run through and on the refrain it's virtually impossible not to sing along with it. Nice sound byte overlays also add to the atmosphere. If this does not bring the house down live there's something wrong with reality!
Finally we come to the major work on the album, 'Opera Fanatica', which follows what I can best describe as a classical style.
After opening with a short operatic theme we are hit hard by some marvellous keyboard playing. The Clive Nolan touch here is obvious, and quite rightly so since he wrote the words and the music, yet there is nothing selfish about the writing for there is far more to this track than simply the keyboard part. The thundering yet melodic guitar sounds and bass lines that power through the piece are awesome, and once again Rob Sowden's vocals demand the listeners attention. This is surely Clive Nolan writing at his very best and the build up to and execution of the finale is really breathtaking. 'Opera Fanatica' provides a great end piece to what I think is a superlative album!
With a run time of less than 55 minutes there will almost certainly be those that complain the album could have been longer.
Well I guess it could, but on the other hand adding to run time often over eggs the pudding and spoils the impact of the music. For my money I believe the band have timed it to perfection!
A review of 'Pepper's Ghost' could not be complete without saying something about the packaging.
The CD comes in a superb digi-book which not only presents the lyrics to the songs but also contains a unique series of fully illustrated comic strips which portray each of the band members as a Victorian period 'super hero'. There is one cartoon strip for each song, and the story line of each is loosely based on the associated track. This extremely innovative approach is the icing on the cake that surely makes this first edition of the album a must have!
As an aside (and not in any way intended as a criticsm aimed at the band), it's at times like this that I long for the old days of vinyl! This booklet would have looked superb in 12" format (and my poor
old eyes would not have to strain so hard to read it). On the other hand perhaps there is a new market opportunity for Arena comics? I for one would like to think so!
Like a good wine Arena have matured considerably with age and continue to get better and better. There is no doubt at all in my mind that this is their best album ever, and I cannot recommend it highly enough.
Simon 09/01/2005
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