When we last stepped into the imaginative world of Arn-Identified Flying Objects and Alien Friends in July last year, the journey unfolded through the sprawling, candlelit atmosphere of the album “17 Birds at the Summer’s Gate.”  It felt like wandering through Arne Floryd ’s inner cosmos, where folk-rock shimmered, psych-tinged melodies drifted like lanterns in the dark, and introspection replaced the playful neon wink of his earlier work. That double-album landscape suggest