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The ’80s progressive rock supergroup Asia is back with its first new single in twelve years as the band’s fourteenth studio album comes due this November. As the world’s foremost simultaneous amateur Indiana historian and Asia musicologist, I couldn’t let that news pass without mentioning it here!

Even if you don’t recognize the name, you’ve probably heard hits like “Only Time Will Tell,” “Sole Survivor,” “Don’t Cry,“ or the band’s biggest smash, “Heat of the Moment.” Formed in 1981 by members of prog-rock bands like Yes, King Crimson, and Emerson, Lake, & Palmer, the group even featured Geoff Downes from the Buggles! Asia blended progressive rock virtuosity with irresistible arena-pop hooks. The band’s brand of music was glorious, pompous and cheesy; it’s my guilty pleasure. 

Asia’s self-titled 1982 debut was a phenomenon and spent nine weeks at number one on the charts by selling more than four million copies in the United States. After that, however, the band would have become notorious for its revolving-door lineup centered around Geoff Downes if it weren’t for its fall into obscurity. The original quartet reunited in 2006 for three excellent albums before singer John Wetton’s death in 2017 closed the book on the band’s classic era. Since then, Downes has led Asia with a succession of new musicians.

I’ve reviewed and ranked the original band’s albums, the John Payne era, and the entire discography, but until now the post-Wetton lineup hadn’t released any new studio material. That changed on July 6 with “The Traveller (Into the Light).” It doesn’t reach the heights of Asia’s best, but it’s still a cool tune- sort of like “Who Will Stop the Rain” from Aqua.

By now, Geoff Downes has finally managed to condense his bazillion keyboards into two MIDI controllers hooked up to a pair of MacBooks. He’s joined by guitarist John Mitchell, drummer Virgil Donati, and bassist-vocalist Harry Whitley, a dude about my age who first gained attention through his outstanding, multi-instrumental Asia covers on YouTube. Mitchell and Donati aren’t newcomers, though- Mitchell played with Wetton’s solo band and with Wetton and Downes in Icon, and Donati -probably one of the most technical drummers ever- played with Wetton in U.K. 

The bottom line is that Harry Whitley is an absolute phenom, and John Mitchell and Virgil Donati feel like great successors to Steve Howe and Carl Palmer. As much as I admire those originals, I don’t mind the change: Howe’s live guitar tone was too sinewy to capture the larger-than-life tone of Asia’s studio recordings, and Palmer’s tendency to rush the beat- even at the end of the studio version of “Heat of the Moment” was always an enormous distraction. Judging by Asia’s recent live performances, the new lineup is more than capable of carrying the torch to propel its history into tomorrow.

“The Traveller (Into the Light)” drives that home from the opening beat. It kicks off with a commanding combination of jagged guitar, massive drums, and Geoff Downes’ urgent synthesizers before Harry Whitley takes over. He doesn’t sound exactly like John Wetton, but he’s close. Then comes the chorus: the hook isn’t as obvious as Asia’s greatest hits, but it’s there. Donati fires off stuttering drum fills that are almost as distracting as Palmer’s speed-demon tendencies, but Downes launches into some unhinged single-handed synth runs that feed the track its progressive-rock credentials. 

Mitchell, wielding a gorgeous turquoise sunburst Cort, delivers a solo that’s equal parts lyrical and effortless shred, while Whitley’s weird headless five-string bass somehow looks right at home. After the bridge -synthy with soaring vocals- it’s’ impossible not to imagine John Wetton smiling down from outer space at what his band has become. One final triumphant chorus gives way to Downes’ wistful chords and Donati’s syncopated toms before the song stops. Nice. 

I’m in Reddit groups and old message boards full of people who expect their favorite old bands’ newest songs to be radio his. That time has passed. Still, “The Traveller (Into the Light)” is just the beginning, of course. It’s the first taste of Indigo, Asia’s fourteenth studio album, which is due the day before my birthday from Frontiers Records. If the lead single is any indication, the newest version of Asia has something special on its hands. Aside from the newest cuts, Indigo also promises to honor its past. It comes complete with new Roger Dean cover art, and three songs -“Tattoo Indigo Part 2,” “Tattoo Indigo Part 3,” and “Chesapeake Bay”- were among John Wetton’s final compositions.

Better yet, the album welcomes back a familiar face. Original guitarist Steve Howe returns to contribute acoustic guitar to “Chesapeake Bay,” which gives the track a subtle connection to Asia’s earliest days. Meanwhile, Dream Theater drummer Mike Portnoy takes over behind the kit on one of the album’s bonus tracks.

All of that said, Indigo reminds me a lot of Aqua, the album that launched Asia’s John Payne era. Like it, Indigo pairs Geoff Downes with a new vocalist as it brings back familiar faces to bridge the band’s past and future. That’s hardly a bad omen, since Aqua was one of the strongest albums of the Payne years. Still, if Indigo can honor John Wetton’s legacy while establishing Harry Whitley as Asia’s new voice, I’d call it a success. Based on “The Traveller (Into the Light),” I’m more optimistic about Asia than I’ve been in a long time.

Whether Indigo ultimately joins Asia’s best albums or settles somewhere in the middle of the pack, one thing is already clear: this isn’t a nostalgia act limping across the finish line. Geoff Downes has assembled a lineup that respects the band’s past while giving it enough firepower for a genuine future, and “The Traveller (Into the Light)” is proof. For the first time since John Wetton’s passing, I’m not just looking back at what Asia was. Has this new iteration grabbed the pearl to ride the dragon’s wings? Only time will tell.

Cover art and some photos are copyrighted material, the use of which has not been specifically authorized by the copyright owner. Images of these covers are used solely to identify the album in the context of critical commentary. This should constitute a “fair use” referenced and provided for in section 107 of the US Copyright Law.