Molasses drips onto ancient structures that have since gone away, yet are more relevant than ever. A deep history lies beneath the surface.
Upon pressing play at the beginning of 'Old Northwest (Growing)', you immediately get the sense that there are many pieces to the puzzle.
Robby Friedlen is a Chicago-based recording artist and member of History of Leather (with our friend Pascal aka Velvet Curtain). Hanging Lichen is the striking and complex world that Robby has created, movements of textural composition and collages of recordings that are moist to the touch.
"Blavatsky III" pulls you deeper into the world of the album, where something sacred is present at all times. A psychedelic, minimalistic nature much like that of the early 2000s American experimental groups Skaters or Monopoly Child Star Searchers is strongly felt here, with 3D layers that are as meditative as they are adventurous. Hanging Lichen is of its own kind, its own work of art, a story that has only begun to be shared with us. The fidelity of these recordings makes tape (either 4-track or a more portable player) a highly probable format used here, yet Friedlen's palette is intensely trancelike in its variety and mystery.
The stereo width changes seats often throughout this album, to pleasing effect. "Cool Slime Sliding II" plays with its position on your ears, a trippy dance with a stranger at a party. The B-side's "Gran Met" behaves like drone music in its patient hum and endless textural activity. The tape finally ends with a track that only further defines our initial and undoubtedly memorable impression of Hanging Lichen's music - peaceful in its demeanor yet bold in its voice.
released March 25, 2019
Recorded 2016-2018 in Denver, Rogers Park, and at the Observatory.
supported by 8 fans who also own “Old Northwest (Growing)”
“With Julius, he was based in repetition, but here was a spirit of openness and improvisation. His scores, if they were written out that way, were often like jazz scores. He loved multiplying instruments – four pianos, ten cellos – so there was a real feeling of the presence of the instrument, not just using an instrument in some kind of equation, as a means to an end.” ~ Mary Jane Leach
Enough said. pt