The Arkitecht is a gentleman called Genaro Ochoa from Mexico. He is supported in his project by session musicians. Listening to “Hyperstructure”, it’s clear that he has a Progressive vision which takes him in all sorts of directions. The album is in fact divided into two clear parts. The first six tracks are a series of conventional explorations into Progressive Metal, while the seventh, “Face Thief” is a 32 minute conceptual epic, purportedly with passages like Porcupine Tree and rhythmic sessions like those of Textures.
If “Face Thief” stands on its own, none of the first six sound like each other either. The opener “Blackout” is a mellow progressive affair, smoothly delivered with some nice piano work, good background effects and silky guitar playing. There’s a strong hint of Opeth’s “Damnation” about it. No other track sounds like it on the album. After a retro start, “The 20th Century Feast” contains a mix between Progressive Thrash and a smooth delivery. It’s not just the style that varies. Ochoa’s voice has changed along the way. He’s now gone from Akerfeldt to Axl Rose in one track. Things then go into a retro Prog frenzy. I couldn’t get to grips with this one. “Through Broken Glass” was more psychedelic and for me lacked personality. The start of “Elation” woke me up, thanks to an epic start reminiscent of Pagan’s Mind. I wish it had gone on like this. Musically it was ok, but competent as the musicianship was, I found it unpleasant to listen to. Then there was a nice break, and an excellent big-sounding epic section ended the track as it began. “Children of the Gods” alternates between Death Metal and quiet melodic passages, and sums up the schizophrenic nature of this album. The quiet section has a Latin ring, and then all hell breaks loose. Structurally, I could once again detect a comparison with Opeth in parts, and the synthesised vocals which come in briefly reinforce this impression. The Opeth comparison returns at the end of the track “Hyperstructure” thanks to the movement and the quiet, relaxing mood, but it only mellows after a heavy Progressive jazz opening with Death vocals. The drums create an exotic sound. It’s not a simple affair.
Then came “Face Thief”. Divided into 9 sections, it takes its time. Plodding Death Metal runs into meandering and disharmonious Prog. There is drama and the choir suggests we are entering Therion territory but the same ponderous rhythm just goes on and on. You’d expect a lot to happen in 32 minutes but not much does. There are atmospheric moments but the overall feel is dull and repressed. There are some nice acoustic and piano moments some way in, but like the album as a whole, it lacks sustained inspiration. The track ends on a high note with the lofty tones of the choir but it’s too late.
It seems to me that Mr Ochoa was trying to do too much here. This may be just speculation on my part but having recorded nothing since 2005, and having no-one to rein him in and say “hey, hang on a minute”, he’s thrown several years of ideas together without any real control or concern to harmonise the end product. I liked some of it but found it difficult to listen to as a whole, and could never regard it as a favourite. It was just too much of a mixed bag. Maybe next time, the ideas will be channelled better, and The Arkitecht will produce a more co-ordinated work with which the listener can connect better.
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