[SP-28-EP] : Campo Santo – ‘Chengue X/Flor de Hierro’ 7″
Stark, lo-fi nightmarish techno and mechanized dark synth isolationism from this new project featuring Antonella, Martin, and Pablo from Uruguay experimental collective Fiesta Animal. Buried, dreamlike sounds drift beneath a dense layer of saturated pulse and hiss. Screenprinted art on parchment paper.

[SP-29-CS] : Mold Omen – ‘Every Day a Dream, Every Nickel a Nectarine’ CS
Operating on the fringes of the Baltimore experimental music scene, this duo have quietly released a number of great cassettes on various micro labels. This new tape is their most diverse effort to date, and yet it stands out as the most “album-like” of their output. Intuitive and psychedelic “noise” music, with free music and post-industrial leanings. Some of the sounds on this tape would fit well into the the early output of 90s cassette labels like Apraxia and Chocolate Monk, while others blend elements of Sun City Girls, Noggin, and even touches of early Loren Mazzacane style disjointed blues riffing. Artwork constructed from 1920s sheet music and embrittled 1950s dress-making tissue paper templates with hand typed text. Limited edition of 50.

[SP-30-CS] : Comfort Link – ‘The Gentle Sounds of Comfort Link’ CS
Debut cassette release for this reclusive Baltimore archivist. Spontaneous compositions crafted from piles of hand-spliced cassette loops. Screenprinted art on 2 different colored construction paper inserts. Recommended for fans of Bert Kaempfert and Philip Jeck. Limited edition of 50.

[SP-31-CS] : Rosemary Krust – ‘In Hollenshade Basement/Deskulling Society’ CS
Our favorite Baltimore duo’s first release in 2 years, and first sPLeeNCoFFiN release since 2008’s “Slow Light,” is a collection of improvised and live recordings, showing off the band’s more experimental, instrumental leanings. “In Hollenshade Basement” is a compilation of drone heavy four track recordings almost entirely guitar based, calling to mind Trapdoor era Dead C and 1990s 7″s by the likes of Roy Montgomery and Azusa Plane. “Deskulling Society” is a harsh, primitive, post-industrial drug experience — a live recording capturing what is probably Rosemary Krust’s most completely unhinged live performance to date, recorded at the defunct Hexagon space in Baltimore. Art is screenprinted in sliver and black paint on kraft paper, screens exposed from used typewriter ribbon impressions on acetate, with the used ribbons also hand-rubbed onto the cassette shells themselves. Limited edition of 100.


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