Browning Mummery – Live / Berlin & Melbourne

Browning Mummery – Live / Berlin & Melbourne CDr Inner City Uprising 2021

Andrew Lonsdale’s long-standing post-industrial / experimental project Browning Mummery has been reasonably active in recent years, including both new studio material as well as sporadic live performances. Obviously, the title of this album indicates the live context of this release, but in being more than a straight live recording of a single show, this album features material culled from two live performances. The liner notes further confirm the four chosen tracks cover the full history of the project by spanning the years from 1984 to 2019, where the opening track Disintegration of Personality derives from one of the earliest tapes Obiter Scripta, originally issued in 1984.

With a wonky semblance, there is a deft mechanical ebb and flow to these experimental-industrial soundscapes, while cleanly dynamic noise and a metallic rhythmic churn also underpin the general atmosphere. Each track functions as a lengthy standalone composition, where the tonal framework is detailed in the layering and construction, and which on occasion rise to segments of muted tonal ferocity. Sampled and processed vocal chants appear on Slaughterhouse Sutra, as do choppy and slightly chaotic metallic shards, and off-kilter revving tones blended with misfiring industrial-noise textures. Foreign Devils on the Amber Road further differentiates itself with driving bass and programmed percussive rhythm, where the associated choppy sampling of orchestral movements and choir vocals becomes increasing unhinged and noise infused as the track progresses. With the first three tracks being recorded in Berlin in 2015, the fourth and final track Abandoned was recorded in Melbourne in 2019, and at a show, I was able to witness in person. While this track contains many of the same sonic elements of the earlier tracks (such as a loose mechanised churn, multiple sampled vocal textures, and sub-orchestral styled movements), the atmosphere has been pulled back to a contemplative ambient-industrial soundscape.

Given the clarity and force of the sonics on display, the recordings have clearly been taken directly from the soundboard and I assume to have been further treated with suitable studio mastering for release. The end result is a recording that functions excellently as an archival document of the live performances and as standalone listening.

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