Arena
Songs From the Lions Cage

THE REVIEW

The Arena was formed in 1993 from the mind of the talented and hyperactive keyboardist Clive Nolan. He is a much-appreciated musician in the progressive scene and, in addition to countless collaborations, he is a member of one of the most important new prog groups of the eighties: the Pendragon. Joining the project are former Marillion drummer Mick Pointer, who has been away from the music scene for a long time, and former Asia guitarist Keith More. Completing the line-up are veteran Cliff Orsi and vocalist John Carson, whose vocal timbre at times recalls Fish, the leader of Marillion.

The music offered is melodic and elegant prog, whose influences can be traced back to the past of the various members. An immediate sound that focuses on harmonic and melodic inventiveness, the refinement of arrangements, and also some pop flirtations.

The debut album ”Songs From The Lions Cage” was released in 1995 and immediately achieved good sales and critical success. I confess that I approached the band without high expectations, at a time when I was into other types of sounds, and initially the work did not fully convince me. But I have learned to love this album over time, and it is less immediate than it might seem on first listen.

An aggressive guitar introduces “Out of the Wilderness”, an impeccable track, halfway between the Marillion of “Script” and the IQ of “Ever”. A successful blend of two eras. Following is “Crying for Help I”, a short instrumental for solo acoustic guitar, the first in a series of interludes that separate the actual compositions. The following episodes of this suite, between harpsichord sounds, flutes, and new age atmospheres, lead to the splendid “Crying for Help IV”. The penultimate track on the album and a true song. The atmosphere created by an organ in the background, delicate melodies outlined by the piano, a sorrowful singing, and finally an inspired solo by guest Steve Rothery.

In the middle are the symphonic “Valley of the Kings”, the more direct “Midas Vision” with its catchy refrain, and especially “Jericho”. The latter is an engaging track with different moods, moving from a more introspective and melancholic first part to a more sunny and magnificent second part. Highlighting singer John Carson, who demonstrates great versatility and interpretive ability. The album closes with the most beautiful piece of the album, the long and dramatic “Solomon”. An eclectic track that plays between Floydian atmospheres, sudden accelerations, and beautiful melodies traced by More's guitar. To crown it all, a masterful finale, characterized by inspired choirs and a brilliant guitar solo.

I consider this to be the band's best work, recommended especially for those who love the more romantic side of progressive. I always listen to it again with pleasure.