Author: Peter Podbrežnik
Artist: Arena
Label: Verglas Records
Released: 1998
Runtime: 59:37
Rating: 5/5
The concept masterpiece “The Visitor” marks a turning point in the story of the excellent British neo-prog rockers Arena. What began as an obscure project, born to carry on the musical tradition of early Marillion, finally grew with this monumental studio statement into a band with a heart and soul all its own, one that today counts among the key torchbearers of the prog rock flame. Band leaders Clive Nolan, the keyboard wizard (Pendragon, ex-Shadowland), and cult drummer Mick Pointer (ex-Marillion) had already shown on the two fine albums before it, “Songs from the Lions Cage” (1995) and “Pride” (1996), that Arena held far more artistic fire of their own than most of the movers behind the 90s prog rock revival. Their commitment to instrumental and compositional perfection could no longer go unnoticed, at least within the prog world. Even those who had previously ignored their existence suddenly had to admit that with “The Visitor” they had made one of the classics of progressive rock.
“The Visitor” is a dramatic concept project where dark atmospheres and complex lyrics bring the dramatic imagery of the individual songs to life. The concept, which came to Clive while he was living abroad, deals with a whole bunch of unexplained, often half-fantastical and abstract questions about life and death. Along the way, various characters turn up as the main players, standing in as metaphors for major life trials and temptations. Their grotesque figures put the protagonist of the concept through the wringer until a mysterious visitor dressed in black appears on a bicycle, representing the death of love. There are plenty of religious connotations too, among them church hypocrisy and the question of life after death. Clive’s concept fits perfectly with the dramatic nature and layered moods of the individual songs, keeping the listener on edge from start to finish. And the band’s trademark Celtic melancholy is here in abundance once again.
There are no long epics on the album like the classics “Solomon” and “Sirens”, but that’s because “The Visitor” as a whole is one big epic, built from relatively short pieces that form an inseparable collage of the phantasmagorical concept mentioned above. Most of the songs build dramatic stylistic bridges between symphonic prog rock and prog metal, marked by extensive use of Clive’s synth wizardry, punchy guitar phrases and subtle solos, and a rhythm section that’s busy the whole way through. The cult bassist John Jowitt (IQ, ex-Jadis), teamed up with Pointer, once again delivers a standout rhythmic mix of punch and finesse.
The key move toward a sound that was entirely their own, recognizable from miles away, came with the arrival of the versatile guitarist John Mitchell, who first appeared as a band member on the EP “The Cry” (1997) and the live album “Welcome to the Stage” (1997). Mitchell proved to be a great discovery and one of the most refined guitarists of the third wave of prog rock, and with his subtle slide guitar work he carries on the sonic tradition of guitar giants like David Gilmour, Andy Latimer and Steve Rothery. At the same time he can come up with seriously hard-hitting guitar phrases that turn Arena into the heaviest neo-prog band around when the moment calls for it. The phenomenal singer Paul Wrightson brings a hefty dose of emotion to the songs with his charismatic voice and huge range. Anger, melancholy and mystery blend in his singing with remarkable subtlety. To the dismay of many fans, “The Visitor” was Paul’s last outing with the band, but once the no less excellent Rob Sowden came aboard, the mourning was quickly over. As ever, Mr. Nolan watches over everything as the great connector and main songwriter, having expanded his virtuoso “Wakeman-style” phrases with more subtle sonic curtains that cool down the overheated sections.
“The Visitor” is an album of dramatic twists, grand triumphs and shattering confessions. In the tradition of the best concept albums, the songs flow into one another with a real sense of continuity. Eerie sounds herald the start of the epic classic “A Crack In The Ice”, the longest track on the album. Punchy yet melancholic guitar phrases are woven with great feel between warlike synth lines, while dynamic drum fills roam around in between. Wrightson, with his outstanding, emotionally rich vocal performance, makes sure the dramatic mood doesn’t let up for a second. The fascination comes from that refined, unexpected shift from dark, almost brutal motifs into brighter, more optimistic colors, followed by an even more dramatic turn into a bleak and chilling finish.
Thanks to a delicate acoustic guitar melody, high-ringing synth textures and romantically tinged vocals, “Pins and Needles” offers a short breather from the dramatic mood. It flows straight into another classic, the excellent “Double Vision”, where a weeping guitar solo and theatrical vocals tear your heart out. Clive’s synth textures supply that signature neo-prog pomp. The instrumental “Elea” is a short but moving ambient moment, with plenty of dramatic synth patterns and choral vocal harmonies in the background while Mitchell’s gourmet guitar solo shines up front.
The highly dramatic epic “The Hanging Tree”, in which ancient legends from a dark past and the eternal enigma of life after death come alive, is one of the album’s peaks. As on “A Crack in the Ice”, what fascinates most is the subtle transition between gentle, almost fragile melancholic acoustic guitar motifs, punchy phrases and symphonic-ambient revelations. The tender, acoustic-flavored intro is followed by a dramatic jump into a hard-hitting, layered section, where mighty guitar and keyboard solos hit the listener one after the other. Tying it all together is Wrightson’s otherworldly vocal performance, into which he pours more colorful emotion than most of today’s popular singers manage to express in their entire careers. The best part comes with the majestic, almost enlightened chorus, where incredible expressive beauty and melancholy intertwine while mighty synth curtains flow in the background. And for the grand finale, Mitchell finally destroys the competition with yet another sky-high slide solo.
“A State of Grace” is an exceptionally dark piece, with lyrics circling around church hypocrisy. Paul’s theatrical performance, fully living the role of a pedophile priest luring his innocent victim with sweet words, is the heart of this extraordinary song. The sacred yet chilling atmosphere comes from a dynamic backdrop of layered synths, occasional choral harmonies and weeping guitar phrases. The short instrumental “Blood Red Room”, featuring narration and spooky ambient synth patterns, serves as a bridge into “In the Blink of an Eye”, yet another phenomenal epic in the best tradition of the band. This brilliant song positively buckles under cataclysmic energy, unexpected twists and breathtaking solos. Punchy guitar phrases stride over exceptional rhythmic dynamics through the usual synth hocus-pocus, while I once again can’t praise Wrightson’s singing enough. This is where the band’s full grandeur is confirmed in the most beautiful way, in the artful interweaving of the symphonic prog rock tradition and prog metal elements.
“(Don’t Forget to) Breathe” brings back the phantasmagorical mood, where nightmares come alive, led by vampires and werewolves. The opening section features obscure guitar passages run through a special effect, while Wrightson’s singing is once again drenched in deep melancholy. The ending impresses all over again with the build-up of a majestic yet heartbreakingly sad motif. The instrumental “Serenity” is built from a weeping slide guitar solo and ambient sonic curtains. After this short requiem comes “Tears in the Rain”, another mighty epic with a solemn keyboard intro and a sarcastic vocal turn about a sad clown (one more of Clive’s many metaphors, this time for madness). Celtic-spiced symphonic harmonies and delicate piano passages at the end lead into one of the best transitions in the history of concept albums.
A mysterious vocal and ambient curtains explode into the next epic classic, “Enemy Without”, the album’s dramatic, highly melodic high point. The heart of this mighty song lies in its majestic chorus (another bow to Mr. Wrightson), built from infectious vocal harmonies. Dramatic synth lines are once again laid superbly within layered guitar phrases, alongside impulsive rhythmic shifts. This unforgettable anthem is still a highlight of their gigs today. It’s followed by a direct segue into the fully wound-up, punchy “Running From Damascus”, where there’s no shortage of Nolan’s keyboard wizardry, killer rhythmic changes and Mitchell’s guitar magic. Along the way, surprisingly, the chorus and central motif of “A Crack in the Ice” come back. Wrightson’s vocal, in yet another outstanding performance, expresses the protagonist’s longing for light and redemption.
The closing prog rock orgasm comes courtesy of the title track, which you could also call the final revelation, where the protagonist of the concept finds his inner peace. This monumental piece boasts the kind of ambient magic you’d usually admire from the greatest masters of progressive rock pathos, like Pink Floyd or Camel. Its richly expressive nature radiates remarkable compositional and instrumental maturity, while Mitchell’s closing slide solo shakes you to the core. The reviewer is shamelessly ready to admit that his eyes well up more than once at its indescribable subtlety.
“The Visitor” is a dark prog rock epic with which the band created their first masterpiece. This gorgeous concept album is one of the classics of 90s prog rock, and it belongs in every household. On release, “The Visitor” drew plenty of very good reactions, but it didn’t bring the noticeable commercial success that, with all their dedication and hard graft, they undoubtedly deserved. A successful tour followed, during which Paul also proved himself a great actor, playing the various characters from the “The Visitor” concept. “The Visitor” is an album of many superlatives. On it, Arena finally cemented their artistic identity, introduced the wider music world to the guitar genius of John Mitchell, and set the signpost for prog rock in the new millennium.
Lineup
Paul Wrightson – vocals
John Mitchell – guitar and backing vocals
Clive Nolan – keyboards and backing vocals
John Jowitt – bass guitar and backing vocals
Mick Pointer – drums
Production
Clive Nolan and Simon Hanhart
Tracklist
1. A Crack In The Ice
2. Pins And Needles
3. Double Vision
4. Elea
5. The Hanging Tree
6. A State Of Grace
7. Blood Red Room
8. In The Blink Of An Eye
9. (Don’t Forget To) Breathe
10. Serenity
11. Tears In The Rain
12. Enemy Without
13. Running From Damascus
14. The Visitor
