Megaptera – A Horse In The Eye Is Part Of The Art LP/CD Cloister Recordings 2019
In the early to mid-1990’s Mepaptera were a leader and mainstay of the early Swedish death industrial sound. In noting that the last proper album The Curse of the Scarecrow dates from 1998, focus on the project has been maintained over the following years based on sporadic live performances, as well as a slew of releases including: live albums, reissues, compilation collections and remixes. But A Horse In The Eye Is Part Of The Art is a welcomed release as it features new music from project mainstay Peter Nyström, indicated to have been recorded between 2012-2018.
Lobotomy leads off in classic Megaptera fashion with pulsing bass tones, shuddering factory ambiences, scrapping metallics, rupturing fissures of sound and medical lecture samples which all laboriously unfurl over a ten-minute span. Bipolar (Type 1&2) follows and displays another side to the Megaptera oeuvre, with a semi-stilted ritual drums, wavering horns and dank echoed factory ambience, again slowly unravelling over ten minutes, where additional beat programming, grinding distortion and junk metal crunch are added for good measure. Side B leads off with a remix of Second Recovery by Stephen Petrus, being a slow maelstrom of mid to lower ranged swirling/grinding layers. Further blended with various rolling programmed beats, treated vocals/samples it generates an overall grim result. Final of the four tracks is Walking Death, and spans a 14 minute run-time. Scrabbling conveyor belt metallic textures and rumbling windswept ambience features heavily, while fractured voices can also be detected but are semi-buried in the mix. From the midpoint of the track stilted metal clanging elements provides further structure and forward movement, with a gradual elevation of urgency through to its conclusion.
For good measure a bonus CD is included along with the vinyl LP, and features a live recording from The Epicurean Escapism Festival 2014. Previously issued as a digital only release, it spans a play-time of 41 minutes and features classic cuts such as The Final Day, Don’t Desecrate The Dead and The Curse Of The Scarecrow. With a foggy and distant depth to the recording and detectable crowd chatter, this is definitely not a direct soundboard recording. But equally this only adds to the murkiness and general dank death industrial atmosphere.
From what I understand, this may be the final swansong album from Megaptera. While this is a shame, equally this album was not perhaps not even expected given the length of time since the release of the last proper album. If it is indeed the final album, is at least a fitting epitaph for the project, where the industrial decay illustrated on the cover is a suitable visual representation.