INTERVIEW: Charles Hoffman

Charles Hoffman

Charles Hoffman

AUTOreverse #14, Summer 2011
by Ian C Stewart

Is there anything you’re feeling particularly mouthy about at the moment?
Lately I’m really obsessed with self-importance. I work in web development, and I seem to run into a lot of it in those circles, but it’s kind of everywhere in society these days. So many people try so hard to look like something that not only they’re not, but also that doesn’t even make sense to be. The “creative class” is this myth that messes with your head. People spend money they don’t have to try to look like a big wheel, when you’re really just like, making silly fun websites that only make money by selling advertising under the false pretense that anybody pays any fucking attention to it. There’s so much in our society and economy that’s just absurd right now but that people take totally seriously.

I was watching this documentary about coal miners on strike in 1972 and I thought, at least these guys do something tangible, they go down into the earth and pull up energy that makes all this other stuff possible. It’s totally silly for a guy like me to think we’re more important or worth more money just because we get to sit in an office chair all day and help put words and pretty pictures on screens. I don’t care about any bragging rights or trying to out-nerd the next guy. Like Bill Hicks said, it’s just a ride. I just hope that by the end of my life that I’m convinced that I had fun. Making music helps me remind myself how funny it all really is.

Let’s talk about your musical influences. Who are your biggest influences and why? Who were your early musical influences?
This is always a tough question for me. It’s hard to keep to a succinct answer. So I probably won’t.

My early experiences were popular radio rock in the 80s and my dad’s 70s rock records. Then I got especially into an 8-track of Yes “Fragile” because there was so much going on in it, it made this fantastic movie play in my head. In middle school I got into metal after noticing how obsessed the dudes at my school were with Metallica, and rap music because that was also very popular with my peers. I was born in 1975 so the ’80s coincide with my elementary and middle-school years and the cultural climate of the ’80s affected me. For example the way that people thought music could make you go insane or worship Satan or kill yourself. It seems so absurd now. But it kind of made me fascinated with music and culture that seemed scary or transgressive. So many records came my way when I was a kid that scared me but then thrilled me. Like, what if Blue Oyster Cult was really a cult? I actually thought they were for a while.

In high school I met a couple kids who turned me on to “alternative” stuff (they actually referred to it as “postmodern” music at the time), and with the blow-up of Nirvana and grunge there was also a big swell of interest in what those bands considered to be their influences, so I got really into alternative, indie, punk, and industrial, and got into digging back in to the past for underground things I hadn’t been clued into in their time. They say the music you loved in high school will always be a big influence on you; I think my favorite bands in high school, in no particular order, were Suicidal Tendencies, Anthrax, Joy Division, Ministry, Faith No More, Flipper, Pigface, and Sonic Youth. Discovering Sonic Youth was an especially big revelation. I’d heard of them before but just figured they were some kind of hardcore punk band, until I saw the “100%” video on MTV at a friend’s house. I didn’t realize it was okay to play guitar that way. It sounded so wild and free, just blew the possibilities wide open. I bought a cassette of “Dirty” and for like the next couple months it might as well have been glued into my Walkman.

Also in high school I began exploring “20th century music” in a big way. It started when I was walking by my school band director’s office (at that time Ed East, also of Iowa’s legendary salsa band Orquestra Alto Maiz) and he was in there with the door open listening to an album of music by Edgard Varese. I think it was “Ionisation” that I heard echoing through the hall and it just grabbed hold of me. I ran right into his office demanding to know what this awesome music was. Soon after that, my school’s talented/gifted program hooked me up with a library card to the University Of Northern Iowa’s library and I took major advantage of it by checking out tons of records of stuff like Edgard Varese, Karlheinz Stockhausen, John Cage… also went up to the university a couple times to see performances, like this one show they did of works by Karel Husa.

That stuff created enough impression on me that I wanted to become a composer, so my first attempt at college in 1993, which was at Iowa State, I was majoring in music composition. I lasted a year at it, but mostly felt like I was being held back creatively. Like this guy in my class got points counted off for using a 7th chord because we weren’t supposed to know those yet. But during my time there I took a course in which I learned about multitrack recording and analog synthesizers, which was awesome. I also found a copy of Brian Noring’s Friends Of The Draft Resistance zine at a record store; even though it looked really death metal and I wasn’t as big into that stuff at the time, I bought it because it was a zine that somebody local was doing. I ended up writing to this band Rectal Pus that was interviewed in it because they sounded hilarious, and next thing I knew I was absorbed in the noisy/grindcore-y sector of lo-fi cassette culture. After that it becomes a blur because I became determined to find anything and everything that was good in music and try to let as much of it influence me as possible.

Where do you see your music heading?
I usually seem to be heading in several directions at once! The doom influenced thing I started doing with Distant Trains is still kinda going on in my head, and I also still have this long-running fantasy of doing a two-piece drummer/bassist band, but still not sure what I’ll do with that. I’ve now adopted the moniker Distant Trains as a general name for my solo home-recording projects, whatever style they wander into, so as to avoid confusion with other guys named Chuck Hoffman. When my 8-track started acting up and I went back to 4-track, I did a thing where I recorded a bunch of my songs, a lot of them ones I’d already released, in more stripped-down versions. I’ve also recently started re-exploring the approach I had back in the Flight Attendants days which was more experimental and noisy and about exploring how different odd sounds can work together or against each other. I hope to arrive at a good synthesis of noise and song. In the near future I think I might end up doing a couple releases where one is more song-y and the other more noisy. Or maybe one will be more guitar-y and the other more bass-y.

What music software do you use?
Not much. I’ve still never got the hang of recording exclusively by computer. I use Audacity to mix down to and for a little post-production (usually some compression and/or noise reduction) and occasionally I’ll use it to edit together certain musical ideas that are very collage-oriented. But as for recording and overdubbing, I tried to use it a few days ago with some stuff I’m working on for a collaboration with Ten Arms Of The Squid, and the bass part I was trying to add came out all off-time and ahead of the beat. Some kind of latency thing that I suppose I have to adjust but don’t really understand. It’s ironic because I’m such a computer guy otherwise.

So I usually use software more as instruments. In the old days I used Sound Smith and The Music Studio on my Apple IIGS. Nowadays I use a really great drum-machine program called Doggiebox that I came across after my Boss DR-202 broke, and I’m looking into things I can use on my iPad. One thing I’ve come across that looks really promising and fun is a loop-performance app called chipPad. I’ve been messing around with it a bit, playing some wild noisescapes in my headphones.

Is there any other music software you plan on getting?
Nothing specific, but if something looks interesting and isn’t too expensive I may check it out. Thinking of trying iElectribe for the iPad after Luke Tweedy told me about it.

What’s in your home studio setup?
A Tascam Portastudio 414mkII 4-track on top of my dresser. Usually hooked up to a Boss ME-30 multi-effects pedal that I run almost everything through for amp simulation, reverb, or compression, and sometimes for other effects when I’m getting adventurous. I have a couple OK microphones that I’ve inherited over the years left behind in practice spaces by bands I was in when we moved out — the main ones I use are a Shure 588SDX and some Peavey thing. For several years up until just recently, instead of the Portastudio, my main recording machine was a Yamaha MT8X cassette 8-track but it started acting up and the stop button broke so I told Matthew Dake that he could keep it around his new basement studio he built, Thou Art Stronghold, in case anyone had some 8-track tapes they wanted to dump into his ProTools. The other day he posted to my Facebook wall that he fixed it, so who knows maybe I’ll go back to that.

Do you write songs on keyboards or guitar?
Usually either guitar, or, more and more often lately, bass guitar. But sometimes keyboards. The origins of “DDDE” were made up on a chord organ and an old piano we used to have.

Talk about your latest release.
It was a typical soggy dreary depressing Iowa February in 2010. I was remote contracting from home for my work, so I wasn’t getting out of the house like at all and I was listening to a lot of sludgy downtempo music, exploring heavy oppressive doom metal and slowcore stuff because it suited my mood at the time and I got it into my head that (a) my solo recordings were lacking stylistic focus (depending on my mood I sometimes consider that more of an asset), and (b) I’d like to try making some of this slow, oppressive, low-tuned music, and build it around the bass guitar. Then somehow I stumbled upon Record Production Month and it became kind of my excuse to do it and to try to do it fast and keep it simple. I thought this “new” project needed a new name and it would make sense to name it after something that I liked the sound of — like trains off in the distance. I started recording stuff and putting it up online, and then Austin from the Sleep On The Floor label heard some of it and decided he really wanted to get in on the releasing of it somehow. And thusly came about “Congratulations On Your Suicide” by Distant Trains.

Can you describe your songwriting methods?

It’s kind of a scrapheap approach. I scribble stuff into notebooks: ideas, concepts, phrases, puns, fragmentary lyrics, and names I’ve given to riffs or chord progressions that I’ve made up. Then once in a while I’ll notice two or three elements that seem to stick together nicely and a song will grow around that. Sometimes elements will even get reused or tried again with maybe a different tempo or something. There have been a few rare occasions where most of a song will just spill out of me all at once — “Along For The Ride” was like that — but not often.

What made you decide to start making music of your own?
Looking back at my youth, I can’t nail it down to one specific thing, but there have been a series of experiences. So maybe it was just something that was always inside me. Like a lot of ’80s kids, my parents gave me a tape recorder at a young age and I would do made-up radio shows or comedy routines on it and made up an imaginary band called The Rock Bros. because The Blues Brothers were popular but I thought blues music was too old-fashioned. I would flail away on this 3/4 scale acoustic guitar we had that I didn’t know how to play and bang with pencils on those cylindrical Quaker oatmeal boxes that my grandma would always give me and improvise these songs around a loose concept or chorus, a lot of which I still remember. Later on my parents got me a Yamaha PSS-160 keyboard because whenever we went shopping I’d always end up playing with the keyboards on display for hours. I love that whole Casio thing ever since.

But as I got a little older, playing rock or pop music looked less and less like something a guy like me was supposed to do. I didn’t grow up in the kind of schools or neighborhoods where kids had parents that bought them nice gear and paid for lessons. There were a few such kids around but they were the rich kids from our point of view. In 5th grade I got wind of that there was a school music program so I tried my hand at the violin, gave that up pretty quick and then settled on trumpet because it was loud and ostentatious. I figured if I liked music, this was a chance to learn about it, even if it wasn’t “cool” music.

In middle school I found out that these two brothers I had Tae Kwon Do lessons with had a band called Fantasy Kitchen and I got to hear some of their stuff. They had made these albums on cassette tape. Such a thing was like unheard-of to me. They sounded like a sloppy mix of 70s guitar rock and punk with adolescent humor, kind of proto-grunge. I didn’t understand how it worked, how did they make these tapes, where did they play? I’d thought you couldn’t do these things until you got the backing of a record label or something. Once I had a driver’s license I found out they played frequently at this coffee shop near the university called The Garden and I started going there to see them. It was weird to me at first because it wasn’t like my mental image of a “rock concert” or even a rock club, but here they were playing their own songs for a couple dozen kids, there was no rules said they couldn’t… and I could be doing it too.

By a certain point in high school I really didn’t care about anything but music. I’d taught myself computer programming on Apple II computers since about 4th or 5th grade but now those kind of computers that I’d learned inside and out were disappearing and everything was going to PCs so I felt like I had wasted a third of my life learning something that was now useless. I was too young and inexperienced to understand that the skills could transfer to other platforms, and the adults around me were too technologically unsophisticated to know it either. So I just poured my energy into my other big interest, music. I advanced from last chair trumpet to first at school, joined the jazz band, took lots of solos because the other trumpet players were scared to try it, jumped in on all sorts of pick-up jazz combos and brass ensembles that Ed East would put together. If it weren’t for the band program I’d probably not have bothered to show up for school at all. Sometimes there would be a class I was ready to give up on and I would skip it to go practice trumpet. One time my parents were getting on my case for my grades slipping and my mom said “you’re going to end up just playing trumpet on the streets” and I thought to myself, at least there’s a career I would actually enjoy.

Ed East was really supportive, tried to teach me jazz improvisation but I ended up just doing it by instinct, and of course introducing me to “20th century” music. Eventually I had a couple friends who had pawn-shop guitars and could play a little bit, and another who had drums and was pretty good at them, but we were missing a bassist, so I went to Ed and told him I wanted to try bass guitar. I’d always liked the way they sound. He took me to a back storage room and dug up this old Univox bass nobody was using, which matched the color of my friend Seth’s Univox guitar. It had a big crack along the body and two strings on it, one of them flatwound, and would creak loudly when you tried to tune it. He handed me that and an old Yamaha guitar amp and told me I could take it home and try it out. It was awesome! I eventually bought my own bass from a guy who advertised it for sale in the paper using some money I had from summer work.

Me and a few of my friends talked about our band and our songs like it was a real thing, but never seemed to get it together to practice and actually flesh out the songs. Thinking we needed a motivator, I went to The Garden and talked Steve Al into booking us on a date about a month or so away. I came back to school and told the guys the good news and they all quit. I guess they didn’t feel they were ready or never actually thought we were trying to be a real band. I ended up calling a couple other friends who went to other schools, including Josh the drummer from Fantasy Kitchen, and rounded up a replacement band. In three weeks of practice we worked up a set that consisted about half of my loosely-constructed songs — some of them using lyrics written by the guys who’d quit, because I needed material, and which the new bandmembers just kind of farted around and did blues solos though — and the other half all these pop-grunge covers they wanted to do, Pearl Jam and STP and all that stuff, which I really didn’t dig at all and led to some big arguments. But the show went over all right. It was my first gig. Next practice after that they sent me to one of the guitarists’ house instead of the drummer’s where we usually practiced, then called there to tell me they were kicking me out. They replaced me with Jeremy, Josh’s brother who he was in Fantasy Kitchen with, and did one more show with that lineup, then Josh went on to play drums for an awesome band called Thinner and the two guitarists I guess went on to busking acoustic grunge covers on the corner by the university, which was probably a better way to meet girls anyway.

Finding that class about synthesizers and multitrack recording at Iowa State that year was a big deal for me too. We had access to the ISU Electronic Music Studio almost any time we wanted. That studio was where I started Flight Attendants. All that stuff was a mystery to me before, how records got made. Then when I got into the tape scene around that time, I realized that I had these boombox recordings me and my high school buddy Seth had done — he had this enormously twisted morbid/absurdist sense of humor and could just improvise the funniest stuff — and that it was just the kind of thing some of these home-recording fans might dig. So I started up my tape label TapeSNotRecords out of my dorm room and put out a couple cassette albums of that stuff under the name Gok. I submitted this song to a compilation on Chaotic Noise Productions where I had played this distorted bass riff while Seth went on about murdering children and smearing their guts around and then did a kazoo solo, and it got on. Steveggs liked it so much he made a commercial for us on one of his Egg Scab Video releases, totally unbeknownst to us. I like to think a lot of these noise-grind/gore/death types got a surprise when we’d do a trade and they’d get this tape of silly nonsensical blues jams with a trumpet. I think the tape scene was one of the things that finally got me hooked. It removed any reason I might have thought I had to not make music. I became completely sucked into making music, and recording it and sharing it with people any way that I could, once I realized I didn’t necessarily need studios or record labels.

Are you active in your local music scene?
I was pretty active in Cedar Falls’s music scene after I dropped out of Iowa State and moved back there. I kept up TapeSNotRecords there for a while, did a zine, then fell in with a group of kids that turned into this scene out of which was born dozens of bands and home-recording projects — thus TapeSNotRecords kind of got folded into Ragman Records, and the next few years are a blur of sound. We played lots of gigs and put out tapes but we were always kind of the oddballs, sort of this cancerous weirdness growth on the butt of the local music scene, and we liked it that way.

Then all those kids started graduating high school and moving away. I kept on there with a series of bands, kind of trying to make it on the indie-rock scene, but then eventually went back to college at UNI for a Computer Science degree and got into programming for a career. But I’d got to be pretty known around town as this musician guy for a while there. Work circumstances caused me to move to Des Moines in late 2008 and I wanted to make sure I stayed active in music in my new town. My first gig as a local Des Moines musician was me impersonating Samuel Locke-Ward (from Iowa City) after he called me up and asked me to do it. He had a conflict and hates to cancel shows, and I knew a lot of his songs from playing bass and trumpet for him on the July 2008 tour with The Teddy Boys. He thought it would be a hoot if I showed up and pretended to be him, and it was. Also once I moved here I thought up the first few bands I knew of in town and contacted them on MySpace just to say whats-up and inquire what I should check out. One of the first to come to mind was Why Make Clocks because I remembered that a band formerly from Cedar Falls called A Is Jump, who was sorta connected to the Ragman scene and was in on a lot of shows with my bands No Consensus and Exit Drills, would often go play shows in Des Moines with Why Make Clocks. This eventually led to my becoming the bass player for Why Make Clocks and then when Dan Hutchison decided he wanted to relaunch one of his old bands Fetal Pig last year, he asked me to play in that too. I’ve also done a few solo gigs here.

So yeah, I try to keep active. Occasionally there’s a lull in Why Make Clocks and Fetal Pig activity so then I’ll record at home instead and tinker around to keep things going. I’ve started playing trumpet some more, seems like there are a lot of bands looking for one, even if just for a recording session. There’s a certain affinity with the local music scene here that I feel like I’m missing, though. It’s definitely a lively and active scene right now, very exciting, but also tends to be kinda wannabe-commercial, a lot of indie pop bands trying to do something popular. I still like a lot of those bands, some are really good, but I miss weirding out and mayhem and fucking with people and pushing artistic boundaries like No Consensus and some of my other old bands used to do. Fetal Pig is a promising prospect for that, because the music is so confrontationally dissonant and paranoid. The best people can seem to figure out as far as where it fits is to book us on metal shows. The metal and hardcore scene here s pretty interesting, but I’m not sure that as a musician I fit into that. Ames to the north of us has a little more of the crazy vibe I’m after. Iowa City definitely has it but it’s a couple hours away. I’m trying to weird it up a notch in Des Moines but I can’t do it alone. Plus there’s that I’m in my mid-30s with family and career and all the usual excuses that come with that.

Who would you like to collaborate with on new music?
I kinda wish I could collaborate again with just about anybody from the old Ragman scene like Joe Riehle, who was the lead singer of No Consensus, or the drummer Mike, who’s now known as Pythias Braswell and is a hell of a songwriter, or Exit Drills’ original bassist Stacy Peck who plays drums in Pony Time now, or Boguslaw Moravec whom I knew as Jeff back then. All that lot are up around Seattle and Olympia these days. Also Tom Vanderwall, his brother Pete, and Phil Sterk, wherever they are. It would also be cool if I could play gigs with Poopy Pants Jenkins on drums again. I do have a remote collaboration crawling along with former No Consensus guitar-man Jon Grim, who is the Ten Arms Of The Squid that I mentioned earlier.

Samuel Locke-Ward has mentioned maybe having me play bass on an upcoming album and I would love love love that. I did a little recording recently with Matt Dake (You Are Home/Thou Art Stronghold) kinda working on the two-piece sludge band concept a little bit, he’s an amazing drummer but he’s also a hell of an instrumental composer and bassist and I think there’s probably a lot more we could do but he’s also got a ton of projects going. I’m also supposed to go record something with Travis from Mighty Accelerator at his studio before he moves to Nashville, but right now I have no idea what.

Other people I would really love to collborate with include Bob Bucko Jr, Ed from Cryogenic Strawberries/Neon Lushell, Andy Benson from Map Of The Woods, Ed Gray, Blutiger Fluss, Bizarre Charlie Alien, Sonic Disorder, Poopy and/or Food, Andy Koettel, Simon Joyner, Brian Noring, any of those CNP dudes, Grace Locke-Ward, Bryan Day, Zach “Coolzey” Lint, Ember Schrag, Jason Hennesey, Audio Resuscitation Unit, William Elliott Whitmore, Dan “The BassTurd” Butler, Isaac from The Longshadowmen, Jim of The Twelve Canons, Gabe from Microwaved, Tyler Crew, and Cracka Don.

What other bands are you’re excited by?
I’m really excited to get this new Richard Buckner CD, I just got an email saying that they were shipping it today. Also I’m pretty turned on lately by Black Pyramid, Olde Growth, Noah’s Ark Was A Spaceship, Kowloon Walled City, Burmese, Centro-Matic, The Poison Control Center, Ramesses, Bermuda Triangles, Joe Jack Talcum, Das Racist, Breathilizor, Rhonda Is A Dead Bitch, R. Stevie Moore, Luxurious Bags, Mike Watt, J Mascis, Godstopper, (((microwaves))), Red Fang, The Seed Of Something, and Black Ambient Manifesto. At this point it probably sounds like I’m just dropping names, but in truth I really am digging what all these folks are laying down lately, with the exception of Luxurious Bags which I’m pretty sure is no longer an active concern but just something I’ve been rediscovering lately. Plus anyone I’ve mentioned above in the collaboration question. I’m also super glad The Slats are back.

What’s next for you, musically speaking?
Oh I don’t know, I’m just gonna keep on doing whatever is fun and try to bring to life as many good and bad ideas as I can. I’ve got a couple home-recorded releases in the works, but kinda wish I was playing live more often right now.

What did I forget to ask you?

I’m sure if there is anything you forgot to ask me, I’ve not-so-cleverly hidden the answer within one of the long answers above.

What’s the URL for your website? — you can find my own stuff there plus I like to write about music too so I end up writing reviews. I’d also suggest following the Facebook page of The Centipede Farm, I often post links there to interesting music I find online or that my friends have coming out. Also check out the bandcamp page and also

And give me a full discography.

I’ll try my best. The chronology may be inaccurate.

Released on either TapeSNotRecords, Ragman Records, or The Centipede Farm except where otherwise indicated. Some have been since “reissued” on CD-R and/or download.

Gok – “Explosion” cassette, 1993
Gok – “Stop That!” cassette, 1993
Gok – “Fish On Fire” cassette, 1993
Gok – “Gok ‘N’ Roll!” cassette, 1993
v/a – “Audio Terrorism” cassette (Chaotic Noise Productions) song: “Just A Phase” by Gok
Flight Attendants – “Fallen Man” cassette 1994
Gok – “Gee, Okay.” cassette 1994
Gok – “Inferno” cassette 1994
Gok – “Prepare To Be Nauseated!” cassette 1994
Gok – “Listen Up With Gok And Friends” cassette 1994
Flight Attendants – “Nightmares” cassette 1994
Mother Theresa’s Vibrator – “Long & Hard” cassette 1994
v/a – “Shroud” cassette (Zyon Tapes) song: “Cell Damage (Excerpt) by Flight Attendants
Flight Attendants – “Yeah!” cassette 1995
Gok – “Luther Drive Blues a.k.a. Luther Driver Overcliffe” cassette 1995
Master Cylinder – “The Good, The Bad, and The Worse” cassette 1995
Bloody Nose – “Yo Mama Wants To Kill My Harmonica” cassette 1995
Bloody Nose – “Molly” cassette 1995
The Olive Street Incident – “Stinks Like Heaven” cassette 1995
The Olive Street Incident – “Hypnobunny” cassette 1995
Blüdy Nöz – “The Bible Tapes” cassette 1996
Stephen Oulman’s Tot Lot Band – “Stephen Oulman, Man-Child” cassette 1996
No Consensus – “Telepathic Etiquette” cassette 1996
What If The Man? – “Avocado” cassette 1996 (“guest” appearance)
Reversible Hyena – “Louder, Sloppier, Stupider, More!” cassette 1996
Hard Boiled Hell – “The Pain And The Great One” cassette 1996 (“guest” appearance)
No Consensus – “What Stupid Does” cassette 1996
Page 5 Girl – “Chick Capsule” cassette 1996
Page 5 Girl – “The House Of Fat Ladies” cassette 1996
Page 5 Girl – “10 Hickory Smokin’ Chips” cassette 1997
Page 5 Girl – “Evil” cassette 1997
Page 5 Girl – “I Try Hard” cassette 1997
Panasonic Youth – “!” cassette 1997
Panasonic Youth – “?” cassette 1997
No Consensus – “Sun Shines Like Tomorrow” cassette 1997
Bwang! “Ultrasonik” cassette 1997
Bwang! “Steve Flips Out” cassette 1997
Bwang! “Broken Music For Deaf People” cassette 1997
Bwang! “Full Speed” cassette 1997
Bwang! “Harnessing Disaster” cassette 1997
Bwang! “Mediocre Soundcheck” cassette 1997
Bwang! “One-Track Punkifier” cassette 1997
The Sno-Mans – s/t cassette 1998
No Consensus – “Going To My Cousins” CD-R 1998
Flight Attendants – “I’m Dying Over Here” cassette 1998
Blüdy Nöz – “Chronic Moronic” cassette 1998
Bwang! “Lost In Pez-Land” cassette 1998
Bwang! “…And I Saved The World” cassette 1998
The Sno-Mans – “This Is So Cool!” CD-R 1999
Exit Drills – “Exit Drills In The Home” CD-R 1999
No Consensus – “The Moving Version 1.0b” CD-R 2000
Exit Drills “Broke-Ass Demo” CD-R 2002
Passage Of Deformed Man Supermarket – “No. 1” CD-R 2003
Passage Of Deformed Man Supermarket – “No. 2” CD-R 2003
Passage Of Deformed Man Supermarket – s/t CD-R 2005
Passage Of Deformed Man Supermarket – “you are never full yet you look for fillers and values according to the envelope of your own harvest” 3″ CD-R 2005
The Cactus Rats – “Kicked Out Of The Scene” CD-R 2005
The Cactus Rats – “The Band Isn’t Helping” CD-R 2006
Radio Dramamine – “The Mind Is A Terrible Waste” data CD-R 2008
Chuck Hoffman – “Title Of Photograph: Filled With Dread In Los
Angeles” download/CD-R 2008
Chuck Hoffman – “The Small Slate-Colored Thing” download/CD-R 2009
Exit Drills – “How To Decompose: The Best Of Exit Drills” download/CD-R 2009
Passage Of Deformed Man Supermarket – “No. 3” download/CD-R 2010
Chuck Hoffman Or Distant Trains – “Oddities Pre-35” download 2010
Flight Attendants – “Fictionalized For Your Protection” download/2xCD-R
Distant Trains – “Congratulations On Your Suicide” download/CD-R 2010
(The Centipede Farm/Sleep On The Floor)
v/a “Compound Fractures” (Dislocated Tones) 2011 song: “Feline And
Toddler Vomitorum” by Chuck Hoffman

oddities/stuff I know I made but not sure where or even if it belongs in the list [posthumous download-only collections, stuff I made covers for but never gave anybody, stuff that got lost, unreleased stuff, etc]:

Deoxyribonucleic Assholes – “Milk, It Does A Body Good!” cassette
Deoxyribonucleic Assholes = “I’m Tryin’ To Piss In Here!” cassette
Bloody Nose – “Kicken It Old-School” cassette
Blüdy Nöz – “Think Yourself Stupid”
Bwang! – “The Church Of Holy Crap Of Latter-Day Bwang!”
The Fillies Of The Week Featuring Wussy-Pants Williams – “Fatal Exception: Hungry”
Fornicide – “shitstupidnoisecoredethpunx”
My Mentor Al – “Carpet And Other Ways To Die”
No Consensus – “Live At The F.O.E.” cassette
No Consensus – “Live x2” CD-R
No Consensus – “Live At The Malek Theater” cassette
No Consensus – “All She Wrote”
No Consensus – “Not Quite All She Wrote”
Page 5 Girl – “Pitch Control”
Page 5 Girl – “Tomatoes In My Soul”
Page 5 Girl – “Twinkies & Turtlenecks” unreleased album
Angry Cops – various junk, working on a collection release…
Panasonic Youth – “&”
Pythias Braswell – s/t CD-R (recorded it, pleayed a couple instruments)
Stephen Oulman’s Tot Lot Band – “Ghosty Is Alive”
Flight Attendants – “Adverse Lighting Conditions”
v/a – “Tell Us You Hate Us” cassette
v/a – “As Usual, The Confusual” cassette
v/a – “69 Pieces” cassette
v/a – “The Lost Sessions!” cassette
v/a – “The Cedar Falls Scene Sucks” cassette
v/a – “The Cedar Falls Scene Can Go To Hell” cassette
The Police Cops – unreleased recordings I played drums on
The Gang Dealers – also unreleased and generally a bad idea
Fools – unreleased recordings I played drums and bass on
The Spectacle Of Klumffnhauser & Louisons’ Amusements & Oddities – “The Death Of Louison” (live)
The Wagner Quartet “Lonely” (guest appearance)
Bird And Corn – a still-mostly-imaginary collaboration with my awesome wife Leah
The Renegaderz – 2 songs I made with Leah that got put up on MySpace

Fetal Pig “Autopia” LP (probably self-released)
Why Make Clocks “Tight Dissolve” LP?/CD?/?? (also probably
self-released but willing to consider offers to help :P)
Distant Trains – “Poker Bots” 3-minute EP download (Voices Green And Purple)
Distant Trains – “50% Love” 3-minute EP download (Voices Green And Purple)
Distant Trains/Ten Arms Of The Squid collaboration
Other Distant Trains stuff recorded but currently disorganized

thank you, Chuck!