The Arcane Insignia, and its Debut Album, A Flawed Design
I'll start off by saying, I've been waiting for this album since 2015. I first became acquainted with The Arcane Insignia's frontman/composer/guitarist/vocalist on Twitter, of all places. We found a mutual appreciation for each other's music - he called "Slowly Scooting Closer" a "beast" of a song, and I fell in love with an EP (more of a demo) from 2013, which contained five songs: "Car(di)nail & (Sub)liminal," "Chapter 9: Trail of Extinguished Suns," "Panopticon," "The Violence Within," and "Vicarious Virtues." These songs had me chomping at the bit, eager for more; I was repeatedly told, "It's coming soon," referring to a full-length album that I anticipated would be heavenly.
The result, released March 16th, 2018, was more of a single composition than an album: it's arrangements of acoustic seven-string guitar, strings, and acoustic percussion are equally neoclassical and progressive rock, with the vocals more of an accompanying instrument, the lyrics a prose of metaphorical and spiritual poetry. The guitar is often used for percussive riffs, as often at it's plucked melodiously, with even a little metal-inspired flavor.
"Kingdom of Wolves" starts off the album as a lengthy prelude to seven additional "chapters" (that's the best description I can come up with) and after three listens, I already know I need a booklet of lyrics (incidentally, you can find the lyrics for each song at the band's Bandcamp page), to read along with the music. It's easier to hear the vocals as an additional instrument, and the lyrics are seldom repeating or rhyming, making the possibility of memorizing seem an intimidating feat. But that's part of their appeal: this is thoughtful stream-of-consciousness prose rather than your standard fair, adding to the sense that this is a musical epic. The lyrics are more of a companion to Alejandro's voice, guitar, and percussion; Noah Heau's cello; and Tina Chang-Chien's viola and backup vocals.
"Architect of a Flawed Design" continues the story, with a light neoclassical intro segueing into more percussive guitar and violently sawed strings. Metaphors of questions and statements is highlighted - unexpectedly and thrillingly - by a choir contributed to by Martha Stella Calle (Alejandro's mother, and a tremendous source of strength and support in his life), Allie Jessing, and Jamel Lee.
It is stated that "Chapter 9: Trail of Extinguished Suns" is the "song that started it all." It was one of the first songs that I became acquainted with, almost immediately finding tits way into two playlists in my iTunes: "Acoustic/Electric/Eclectic" and "Another Soundtrack for Another Life." And that's what it became: essential to the soundtrack of my life. Rereleased as an advance single for the album, I was excited to experience a new version that didn't disappoint. The vocals became overlapping and harmonizing, including backing accompaniment. It was a new experience with which I felt extremely satisfied, and increased my anticipation of the album, which I was again reassured was "coming soon" - I was hesitant, but so wanted to believe.
Another song, "Car(di)nal (Sub)liminal," was also appropriately used an advanced single, and again it was one with which I was already familiar, equally as important in my life as "Trail of Extinguished Suns." It offered up new delights, again in the form of overlapping and harmonizing vocals. New strings arrangements gave the song a more orchestral feel, yet it stands on its own as a progressive rock tune.
"Obelisk Pt 1: Fallen Shell" is the melancholy prelude to an epic of self-discovery, part one being what I interpret as a tale of a changed man who does not recognize his transformation as necessarily a good thing. However, part two, "Liquid Skies," changes perspective of this transformation, with adversity recognized as an ally to self-discovery; of the changed man being a step in the journey toward a being perfect in his imperfections, the metaphorical "obelisk." It speaks of a very Buddhist view of the self, which is a form of spirituality that Alejandro has embraced. A comparison of this song that comes to mind is Tool's two-part epic "Wings for Marie," though whereas "Wings" is more psychedelic ambient rock, this is more neoclassical progressive rock. Still, I think "Obelisk" is a kindred spirit.
Lastly (before a hidden bonus track you have to download the album to hear) is "Gemini Cycle," a song graceful is its entirety, guitar and strings playing off each other in classical fashion until the vocals join the fray,. Alejandro is yet again joined by Martha Stella Calle, Allie Jessing, and Jamel Lee, in elevating choral arrangements. The song's instrumental interludes are many and welcome, bringing it beyond the level of typical progressive rock. I have to say that every song aside from "Trail of Extinguished Suns" and "Car(di)nal (Sub)liminal" have a certain novelty for me for being new, and I'd be hard-pressed to choose a favorite, but this song's neoclassical grace, combined with the sublime choir, strikes a chord within me: my favorite qualities of eccentric rock are finally in a single song!
I had to confess to Alejandro that I was disappointed in the absence of "Vicarious Virtues," one of my favorite songs; but I was promised that it would be on the sophomore album, which I'm already eagerly anticipating. Hopefully I won't have to wait for three years this time, but if I do, it will undoubtedly be worth it. I know from past experience that The Arcane Insignia's composer won't do things half-assed, especially where his art is concerned. I think that all his fans will agree with me that we appreciate it, and that we've been rewarded for our patience and support.
A Flawed Instrumental
Okay, I was going to go with this as a post-script, but upon listening to it, it's clear it deserves a whole lot more.
Available at the band's Bandcamp page is an instrumental version of A Flawed Design, which I was hesitant about - I couldn't imagine the album working without the instrument of Alejandro Saldarriaga Calle's vocals and his metaphorical and spiritual prose - but I had to try it out. From the beginning of "Kingdom of Wolves" onward, I was blown away, all over again.
I'll start by noting that "Kingdom of Wolves" - a seventeen-minute epic - is now broken down to five parts. The con palabras (with words) version is a little intimidating, as you have to commit yourself to hearing it as a whole, or why bother? I personally find it impossible to pause or skip once it's begun. It's a terrific opening track, but as a five-part instrumental epic, it gives you options. I still have to see it through, as well as it works as a neoclassical instrumental. And there's no other label for it. "Neoclassical" is definitely the way to go. It easily compares to the works of Lorenzo Masotto, my favorite composer of this genre. But differing from many neoclassical compositions, which often have electronic components, this is boldly acoustic.
The guitar, either melodically plucked or rapidly strummed, is usually the source of rhythm here, though staccato bursts from the strings sometimes take their turn. Percussion, in this case, is often provided unconventionally by the guitar/viola/cello trio, while actual acoustic percussion instruments - a tambourine here, some toms and bass-kicking, a cymbal there - are used for accent and emphasis, as carefully placed as any of the other players at work here. The primary "rock" component is the guitar's metal influences, but it is also a major part of what makes this such a unique work, as a neoclassical composition. And it is almost fluidly a single composition. Parts are broken down for your convenience; though, "Obelisk" is now melded into a single track. Hearing it as a unified piece is almost a whole new experience. Hell, hearing all of this instrumentally is a whole new experience. By turns, it's so melodic and frenetic, and always impressive.
It is worth mentioning that the end of "Obelisk" has been transformed for its instrumental incarnation, both gentler and more fierce.
Like "Kingdom of Wolves," "Gemini Cycle" has been broken down into five components. I would characterize them as more "bite size," but each chunk is its own unique little movement. As pensive and dramatic as this song is as a whole, it's fun - yes, fun - to see it from this perspective. Each track gives me a little thrill that makes me a bit giddy.
A Flawed Design [Instrumental] brings to mind the difference between Tori Amos' Night of Hunters and its sin palabras counterpart. Each works beautifully in its own way. You would think that the absence of vocal melodies and lyrical poetry would detract from the piece, yet it just provides a different - and insightful - perspective. Here, A Flawed Design is transformed into a neoclassical piece of complex, undulating beauty, different from its prog-rock incarnation in a significant and important, vitally valid way.
I definitely recommend it. After listening to the con palabras album four-or-five times (I confess, I lost track, as I listened to each song multiple times while writing the above article to be thoroughly informed) I found myself enraptured by the instrumental. It will transport you to a different place, in a very good way.
