Ooh boy. This album was fun to make. We met Tim from Spleencoffin at a show at The Depot (I think that was the first time) but I had been a fan of his label and the bands associated for years. Everything on that label seemed out of left field and not centered on a particular sound or aesthetic, but taking a big chunk of left field without any of the trappings that have bubbled up from the weird side of Baltimore.
Mentally we were knee deep in one of the constant excursions of obsession with Sun City Girls and using the few traditional instruments in our arsenal for a spacy and arid approach to our sound. Though there is plenty of non-instrument sounds to provide a cornerstone. It was released in a batch with tapes from Rosemary Krust and Tim's easy listening project Comfort Link. We all went out to celebrate at Mount Royal Tavern the night of the release and I remember it being a really weird night, but nothing was too sharp enough to write it out here.
Here's what the label said-
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.
Here's what our friend Patrick said-
Every Day a Dream, Every Nickel a Nectarine is the title of the Mold Omen cassette in question today from Spleen Coffin. If you’re not familiar with Mold Omen’s music, you’ve probably read or heard the name mentioned or written somewhere in your e-journies. Either way, the Baltimore duo has been at it for a couple years now, and has been killing it since day one, so if you weren’t paying attention, you ought to now.
Listening to this tape is like playing through some survival horror game on PS One in your parent’s basement. Pop in le tape and side A starts with what sounds like the chugging of a train. It’s like you’re the FBI agent investigating some haunted ass town and you’ve decided to start your search in the train station. Raw ambient noise fills your head as this imaginary train of sound barrels through the haunted station–clanging, whistling, and banging sounds emerge through the tumult, until things calm down and peter out. Track two picks up with the repetition of a few notes on something (maybe guitar or keyboard? I don’t know), while a creepy collage of sounds and feedback build around it. It’s like after investigating that weird train station you’re sitting in the empty town square surveying the situation and getting more freaked out by the second. It ends abruptly and gives way to farty key or guitar sounds and electronic burbles that sound like a frog swallowed a microphone or something. Much like the second track, a collage of strange noises builds and bounds around the central burbly sounds. Why you thought checking out the ghost filled boat house was a good idea is beyond me.
Anyway, flip it over and you’re back in that haunted town. I guess at this point you’re walking around and noticing the shadows in the windows and such. A thick fog of noise rolls in and out over some muffled string foolery, the background noise and chatter builds quietly and begins to take over, and then you realize you’ve made your way back to that creepy frigging train station. As the train pulls in, and the track ends, you pray that it’s not the boss from Resident Evil 2, which luckily it’s not. But in your worry you fainted and wake up in some creepy ass dungeon of noise far away from that haunted town. Rhythmic burbles and rumbles surround you and then you start to lose it. Distorted Judas Priest shreds style action comes in and you realize you’re fucked; it was the boss from Resident Evil 2 and you’re out of ammo. GAME OVER YOU LOSE.
Let me say this is one of the best-looking cassettes I’ve bought in a long while. The insert is printed on 1920s sheet music covered in a layer of 1950s dress tissue paper, the tape has the same tissue paper pasted to it very cleanly to give it a beautifully consistent look, and the whole thing is packaged in a soft poly case. The overall presentation is absolutely ace and gets top marks.
The noise Mold Omen have created takes you on a cool trip that you’ll want to repeat once it’s over. And the fact that so much care went into the presentation put together by Spleen Coffin only multiplies the effect. Get this now if you can, and enjoy what is without a doubt one of the best of the year so far.
- Patrick McBratney
Here's what Cassette Gods said-
Three experimental tapes from Baltimore sound fuckers, how about that for an evening of music? Mold Omen, Comfort Link, and Rosemary Krust don't sound similar, but the visual design by label Spleen Coffin connects these releases in my mind (and my box full o' tapes). First thing I want to say about these albums is how good they look. Sure, I eat with my eyes...don't you? Mold Omen's Every Day a Dream, Every Nickel a Nectarine is described by SC as having bits of music that sounds similar to, "...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." That works for me. I'm not enamored of this release as of my first listen. Maybe it's a grower...The art makes the best impression on me. It is "constructed from 1920s sheet music and embrittled 1950s dress-making tissue paper templates with hand typed text."
released August 12, 2015
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