Arcana,
the veritable heavyweight of the neofolk élan, return with their
fifth album – though it is only the fourth full length given last
year’s, ‘The New Light’ – and a break in their
illustrious tradition of haunting choirs amidst the lonely, weed choked
ruins of old Europe is enacted with this release. Almost instantly Peter
Bjärgö conducts his internal orchestra into egress of sinuous
mysteries of the ancient world, its mysticism and symbolism, a quintessence
redolent of spirituality bereft in the stagnant, academically governed
Abrahamicism of the modern West.
This album is pointed out by Bjärgö in the liner notes as being
a collaboration between the visual and aural arts, the artwork that of
the decayed splendour of Agnieszka Szuba, her artwork serving to enrich
the package with suitable arcane ornation.
Hypnotic, the music skirls caparisoned melody and percussion that would
not be amiss in an old world seraglio with artful dancing masked behind
diaphanous sendal and sensuality. As such, the music garbs itself not
as ritual by rote but as ritual by life, solemn procession is replaced
with symbolic spirituality of the intrinsic animism inherent in ancient
Egyptian and other pre-Abrahamic culture. Vocals take a back seat in Arcana’s
new direction, percussion the new prominence; educed not from soft-synth
but from a selection of physical instruments, Egyptian finger cymbals,
timpani, handdrum, tambourine, shakers and more. There is a tendency for
the album to slip into pseudo-ambient territory at times, yet the lush
production and powerfully enticing drums deftly pluck the listener out
of any subsumed reverie. Not wanting to pass over Arcana’s achievements,
but one can’t help find certain symmetry with Dead Can Dance
not just in Arcana’s earlier works but with this album itself, yet
don’t let that detract you from what is a sumptuous and thoroughly
enjoyable album, for aesthetically the music is well honed and performed.
NYR
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