All prices are USD

US Shipping: $1 per item; Canada shipping: $5 + $1 each additional item (yeah I know, ouch). Other international shipping: $8.50 + $1.50 each additional item. If this seems bothersome to you, feel free to contact me in advance and I’ll see if I can work out a better shipping quote tailored to your order.

PayPal or Dwolla to centipedefarmer at gmail.com or use the Storenvy store. Trades might be welcome, although my collection is getting cumbersome, but there’s always stuff I’m interested in so email me (same address) and we’ll see what we can work out.

For downloads, see the bandcamp page or possibly the Ragman Records Archive.

Centipede Farm releases

THIRD I “GLITCH PIECES” C-20 Serbia sports a fascinating noise scene and Third I stand out for having done everything from dark ambient to drone to harsh noise to improvisation, each release a concept of its own and all highly recommendable. “Glitch Pieces” is 14 unique short, high-energy pieces of glitchy, squiggly electronics and static. $4

RAVEN “GIVE BLOOD FOR OIL” C-20 Serbia calling again, anarcho-punk-noiser Raven brings us two new dynamic walls of grimy noise drone showing Djordje continuing to pull his project in a synthier and more layered direction. $4

VALES “BOAT IMPRESSIONS” C-50 This one just dropped into our laps unexpectedly but we couldn’t resist a modular synth artist with a commendable history of releases behind him shopping an album entirely about boats. Get ready for a wild sail into seas of electronic madness. $5

CONSCIOUSNESS PRISM “NEXUS” one-sided C-50 Sam Hayes covers miles of stylistic ground in a mere 25 minutes from minimal melodic synth jam (with live drums!) to crunchy noise to super-chilled droney ambient. $4

RANTAU RANJAU/L’ECLIPSE NUE “SEEDS OF SICKNESS” C-50 Rantau Ranjau (Indonesia) interprets nuclear contamination/devastation/mutation through harsh squalls of staticky feedback. L’eclipse Nue (Japan/USA) does likewise through the vehicle of noisy old-school electronic industrial and childlike chanting. In between, a great collab track that I’m tempted to describe as “nuclear power electronics.” $5

DISTANT TRAINS “EXPLORTATION” C-50 Upon unearthing in 2011 some very early 4-track cassette recordings of himself with a guitar discovering the wonders of digital delay for the first time in 1996, enamored with the wonky distorted sound both from the manner of its recording and the age of the tape, Chuck Hoffman set about building something new from them through overdubbed improvisation, again on cassette 4-track. These result of over a year of intermittent, scattered pursuit of this process, “Explortation” veers from harsh noise assaults to meditatively ambient to driving instrumental psychedelic rock. $5

MHZ_ “S-RATED” C-60 Reportedly to be Michał Szewczyński’s final noise release and final release as mhz_, S-Rated is comprised of two 30 minute dreamscapes, each following a similar two-part progression from cold isolating industrial quiet-noise, into grinding metallic bubbles. $5

ABORTUS FEVER “INJURY METABOLISM” C-60 You are inside the Machine, hearing its metabolism, at the site of the Injury where dozens of robotic appendages scurry about, repairing the damage, welding, delivering replacement parts, chattering to each other in scrambled radio waves. Chris Blair presents an hour, divided into quarters, of dense, enveloping, raw, dynamic, space-machine noise. $5

CAPTAIN THREE LEG/DISTANT TRAINS SPLIT 3″ CD-R What, C3L noises and DTs grinds? Is this real life? 8 untitled tracks of electronic drone and splutter originally recorded for Captain Three Leg’s split tape with Homogenized Terrestrials in 1997 and two new bedroom tracks from Distant Trains, yet another tribute to Minneapolis in sound collage form and a wacked loogie of drummachinecore. Available on 3″ CD-R sandwiched between two miniaturized pictures of Mike Hoff paintings in an edition of 50. A testament to the pointlessness of the universe. $3

MOULTTRIGGER “BIRDS” This album consist entirely of arranged bird samples (via the National Geographic Guide to Bird Sounds) turned into a various array of emotional messes. Loopy, droney, noisy squiggly, etc.

In my scramble to get a 2nd run of this tape together in the midst of a flurry of other personal business going on, things turned out weird. The J-cards are kinda small, half of the labels got printed upside down, and some of the tapes only have a label on one side. Being in the midst of a flurry of activity buying and moving into a house, I don’t have time to do them over, so I used them anyway and knocked $1 off the price. $4

Simply put, this stuff is addictive. It’s pretty much just what it says: looped, sampled bird sounds. “Pecker Wood” and “Die Fiedergrouse” are fine examples of what the Moulttrigger Bandcamp describes as “a various array of emotional messes”… Additionally, there’s moments of bird audiobook announcements scattered here and there (a trick I pulled myself back in the very early days of Lost Trail). The bird sounds themselves swell to an almost disturbing level at times, then flutter (heh) back down into passive, pastoral beauty. “Whole Lotta Dove” is swarmed in flanged static, while “Tern” is made up of alarming, eerie pulses for most of its nine and a half hypnotizing minutes. Think of Matthew Herbert’s One Pig without the inherent, mood-murdering politics. — Zachary Corsa, A Closer Listen

Despite the lighthearted track titles, the music of “Birds” isn’t afraid of the dark. Certainly by the middle of the album, the novelty element of this production is gone, and one is left to the industrial rhythmic structures of “Whole Lotta Dove,” or mechanical, train-like dirges with counterpoint that sounds like motors and squeaking doors in “I’m Just Lookin’ for Some Thrush.” The harsh granular quality to much of the album’s textures feels deadly serious and many dustbaths away from its feathered origins. — Scott Scholz, Words On Sounds

DISTANT TRAINS “TEEN LUST” C-45 in edition of 50 featuring mostly song-oriented material and psychedelic instrumentals. Bedroom songwriter dorkishness, Casio doom, electric white-boy blues, and all the weird and awkward you should expect by now. $4

“I like the Faustian collage aspect and your utter disregard for adhering to genre.” — Bob Bucko Jr.

“jangly, stoner basement indie rock … strongly footed in mid to late 80′s American post punk… you know, the likes of Mission of Burma and Volcano Suns, with a nod to Thrones and a little of that Temporary Residence Ltd sound.” — M. Barrett, Cassette Gods

“Reminds me right off the bat of Elevator to Hell if they recorded in 1971. It’s often soft and sad with vocals that sound like they are being sung from beneath a huge pile of blankets. There is a slight Dinosaur Jr. influence in there somewhere as well… I thought at first I would not like this but I am pleasantly surprised.” — Demian Johnston, Dead Formats

“Some of the songs — especially “The Truth About Fire” — are sort of like what Daniel Johnston might sound like if a) he weren’t crazy b) could actually play c) wrote about things other superheroes and imaginary people. … Weird and wonderful” — RKF, The One True Dead Angel

“The songs on this tape cover many different genres and sounds, but mostly stick to psychedelic rocky stuff, with varying degrees of noisiness, often times slowing down into down tempo jams on a particular riff that seems to have caught his fancy. Hoffman plays every instrument and gives the impression that this is a full band on the more straightforward tracks; the weirder thing get, the more noticeable it is that this is just one dude. … When I first got this tape earlier this year, it was one of my favorites, and it still is.” — Patrick McBratney, Suave Citation

DISTANT TRAINS “Congratulations On Your Suicide” CD-R The 2010 debut of Distant Trains, instigated by Record Production Month after listening to too much Jesu. Part doom-pop/sludgegaze, part electric singer-songwriter, lots of heavy bass and drum machine and one mighty dreary extended instrumental. $3

““Take Care” is like a doom metal version of Soul Whirling Somewhere. And the bursts of bluesy guitar, I should not be enjoying this. The production can be summed up in two words: clean scuzz… I enjoy the distorto-bass guitar-forward songwriting, vocals waaaaay off over there in the semi-background. The elements are familiar, but the picture is still pretty.” — Ian C. Stewart, AutoReverse

“Hoffman’s bass guitar dominates this album, both as a pure sine rumble and as a fuzzed out lead instrument. The songs owe a debt to sludge-rockers like Soundgarden and the Melvins, but Hoffman is more of a surrealist … has an ear for satisfying riffs that develop and modulate, and while he loves his distortion pedals he never uses them to screech or scream. He retains a childlike affection for the direct sensual pleasure of sonic texture–loud, soft, distorted, pure, all dancing together.” — Kent Williams, Little Village

NO CONSENSUS “The Moving Version 1.0b” CD-R – Final album of this mayhem machine I played guitar in ’96-’01. Eccentric goofball art-punk rock. Reissued using the remaining leftover jewel case inserts and with added bonus tracks. $3

Distro Jams:

(If there’s a label link, check them out too!)

FETAL PIG “AUTOPIA” LP [self-released] Paranoid prog-damaged sci-fi art-punk trio from Des Moines originally formed by Dan Hutchison [pre-Why Make Clocks] and brother Jeff [pre-Blutiger Fluss, Going to Grandma's] with Mike Glenn [pre-Burmese] in 1994, then disbanded 1996, briefly reunited in 2010, then reunited for realsies in 2010 with Chuck Hoffman
[Why Make Clocks, Distant Trains] and released this 150-gram LP that opens deceptively with a driving space-rock instrumental before the dystopian nerves and frustration set in and don’t let up. Includes download code, beautiful screen-printed cover and printed goodies including a comic book by Nathan Thrailkill (a reprint of a certain thematically apropos issue of his self-released zine-comic Virtual Vacuum from way back). $15

“…an Iowan trio weaned on catchy post-punk that sounds sort of like Shellac covering Joy Division. The power of their appealing sound lies in a driving rhythm section bracketing a twangy guitar sound that often creeps into the realm of noise rock, topped with a vocalist riding the ragged edge of angst while still remaining tuneful, all in service of songs built on the heavy repetition of nifty riffs. Songs like “Concerns” and “In Your Head” benefit heavily from the endless repetition of said nifty riffs, while songs like “The Dawning of Autopia” and “Meaningless” show off their ability to make pretty sounds out of spindly, interlocking guitar and bass lines. (It doesn’t hurt that the latter song devolves into an awesome jam that does a swell job of approximating a psychotronic mind-meld of math rock and psych.) Even better, they conclude with lots of swirling, reverb-heavy noise guitar on “New Apostles,” and the album is happily filler-free. Epic greatness; you should want.” — RKF, The One True Dead Angel

MAHLER HAZE “COMING EVENTS CAST THEIR SHADOW BEFORE” CD-R The “lost” album has FINALLY seen the light of day. 4 tracks clocking in at 56 minutes. Mastered by Sion Orgon (Coil, ThighpaulSandra etc) & artwork by Helen Grundy. Released through Fourth Dimension records (Circle, Micheal Gira etc). These are the first PROPER Mahler Haze recordings dating back to late 2010-early 2011. The guitar is featured most prominantly,but in a very psychedelic, ambient & Kosmische way along with electronics/effects. For fans of early Ash Ra Temple, NEU!, Bong, Final, Om et al. $10

“This seems to me a new name, and by the looks of it, a band from Belgium. I have no idea about the line up. It might be a single person group, or maybe a real band. The pieces here were recorded in 2010-2011, and released very late last year. The guitar seems to be at the core of the music in all of these four lengthy pieces. Guitars and effects, and with effects I should think looping devices. The word haze from the band name we should take quite literal, I think. These four long pieces seem to have been made in a haze of smoke, inhaled or otherwise, maybe through smoke machines in the recording studio, which almost come alive in your speakers at home. The guitar parts are looped around, there is synth bits to be spotted and the effects are rainbow colored, like any good psychedelic music would do. The mood is heavy here, dark obviously and very spacious. A giant black hole in which many colors disappear, but if you are on the (b)right side, you may just see all those colors shining in full brightness. The guitars loop and loop, howl and burst and there is probably nothing that you haven’t heard before in the last forty or so years of psychedelic music, of cosmic music, of ambient guitars, of isolationism, and all such like, but I thought Mahler Haze did a very decent job in creating their version of this kind of new and old psychedelica.” — The Vital Weekly

MAHLER HAZE “FINAL VAPOUR” CD-R [?] Four new long pieces of epic synth droneage from the maestro of space madness. Just when you’re settled in and mellowed out, MH knows just when to surprise you with a gentle twist of tone or instrumentation. A delicate balance of relaxed and sinister. Cluster fans should get all over this. $10

DISTANT TRAINS/SQUEEGEED CLEAN “Buzzed & Howled Under Influence of Food Poisoning/Not the normal pigs, but the zombie pigs from down below” split lathe-cut 7″ [Bulbous Confusion] DTs side, conceived as an EP of sorts, is four short vignettes of hyperactive 4-track bedroom goofballery along similar lines to the Marax split and compilation tracks from around that time. Squeegeed Clean are Australian noise-free-jazz pranksters and here they give us a wild drunken melee of saxophones and toys. Lathe-cut in New Zealand onto clear polycarbonate by the legendary Peter King in an edition of 50. Insanely cool. $13

LOVEBRRD/SS SOUS TOULOUSE EN ROUGE SPLIT TAPE [Lava Church] “The Lovebrrd side is a harsh noisy collage of answering machine loops and radio signals over some minimal Casio action. The Su Sous Toulouse En Rouge side is all over the fucking map in the best possible way. Su Sous Toulouse En Rouge is one half of the Uh… plus his better half, and together they create some dope ass tuneage. I’m honored to be on a split with these fine folks.” $7

LOVEBRRD “MORNING SICKNESS” [Lava Church] “Morning Sickness was written and recorded on the morning of August 31 from about 10am to just after noon. After waking up and puking my brains out, I figured it was as good a time as any to sit down and lay down some intense Casio riffage.” $7

LOVEBRRD “JODOCUS” [Lava Church] “Lovebrrd is Sarsota, Florida’s premier minimal synth nightmare. On his lastest outing JODOCUS he melds casiotones with distortion and freaky ambience to draw you in. Dark and terrifying it’s perfect for the fall season. Wild enough to leave anyone in a deserted vhs dream.” $7

DURASTATIC+LOVEBRRD “THERE ARE NO LAPTOPS ON THIS ALBUM” [Lava Church] “TANLOTA is a huge four track collaboration album between the legendary Durastatic and myself. Durastatic has been noising up Florida for a bit now, and you may be familiar with his older project Tree and his label Steele Grinder. Pure ass shit yo; you’d be a fool to miss out on this solid hour of quality noise.” $7

VARIOUS ARTISTS “DEATH SEASON 2″ CD-R [Darker Days Ahead] Death Season arrives once again to drag you into depression and isolation for the long cold winter to come. This year’s compilation is bigger, better, and almost twice as long as the first one. Harsh tracks are mixed in with a good variety of dark drones that will lay you to rest in the wet muddy dirt under the dead leaves. $7

DISTANT TRAINS/BBJR “SACROSANCT BLUES” split [Personal Archives] Freak out mixer feedback and toys buildups on my side, chill alien electronics on Bob’s. $5

BBJR “AN UNFORGIVABLE XMAS” [Personal Archives] Beautiful adventurous mellow jazzy solo baritone guitar improvisations recorded live. $5

BBJR “PHOSPHENE” [Personal Archives] BBJr When a tendon injury rendered him temporarily without use of one hand and thus unable to play guitar in May 2012, Bob took it as a challenge to try his hand at computer-based electronic music. The painkillers probably influenced the resulting sounds quite a bit too. Roaming, spacious sound-poems reminiscent of primitive early electronic music, with much the same freshness and sense of the discovery of uncharted territory. $5

BOB BUCKO JR / KM/MC/TR “ON & ON WE SING OUR SONG” Bob continues his electronic odyssey adding sampled sounds and long spacey bubblings to the stew. On side B, I love a good noise jam with drums in it, especially when they manage to avoid typical rock patterns. KM/MC (Kyle Miller & Matt Crowe) seem to exist primarily to be a catalyst for all-star freakout jams, and are especially effective when they team up with Trent Ries (Juxwl) and his gonzo modular synth rig as they do here. A wild, driving pulse behind a couple squirrelly synthesizers trying to out-crazy each other. How do you get feedback out of a synthesizer? I don’t know but I think they’re doing it. [Personal Archives] $5

THE GLIMMER BLINKKEN “TINKER SHOP///WOOD SHED” and “BLANK & BLISSED-OUT” [Ruix] Bob Bucko Jr, David Morrison, and a cast of their Dubuque cohorts play(ed?) fun & funky party rock with some psychedelic silliness for joyfully unrepentant goofballs, or for anyone really. “Tinker Shop///Wood Shed” is studio and “Blank & Blissed Out” is live, I recommend getting them together. $5 each, or both for $8

WHY MAKE CLOCKS “THESE THINGS ARE OURS” CD [Sleep On The Floor] Having seemingly shed baggage along with band members, Dan Hutchison and loyal drummer Will Tarbox spent 2008 crafting the most upbeat Why Make Clocks album yet, making the most of Hutchison’s propensity for ambitiously intricate rock guitar composition, effortless melodicism, and judiciously applied psychedelic touches. You still get just enough profound sad moments to remind you what band this is, if Dan’s immediately recognizable vocals somehow don’t manage to clue you in. $10

WHY MAKE CLOCKS “MIDWESTERN FILM” CD [Barely Bias 2006] While decidedly more lo-fi in intents and instrumentation, this sort-of concept album about troubled artists (a bit meta, that) is gorgeously produced and subtle in its use of experimental elements within in a folk-rock framework. Contains several pop hits that weren’t.$10

WHY MAKE CLOCKS “FIFTEEN FEET AND TWENTY DEGREES” CD [Rubric Records 2002] The first Why Make Clocks full-length is a bleak psychodrama of a psychedelic Americana-pop record like some kind of Midwestern Joy Division. Now approaching the ten-year anniversary of its release, we will be imminently rolling out these tunes in live sets again and bumming out audiences hardcore. Nah, it’s got a couple uptempo numbers in the middle, but it’s especially known for its contingent of woozy soul-crushers for those days you can’t quite be bothered to pick yourself up off the floor. Epic stuff. $10

WHY MAKE CLOCKS “THE TRANSIENT SWIVEL” 7″ EP [Sump Pump] Still a few copies left in Dan’s basement of this half-instrumental home-recorded document of Why Make Clocks’ humble beginnings as a duo. Good enough to make you wish they’d go lo-fi like this a little more often. $5

Coming soon:

Distant Trains, Consciousness Prism, Rantau Ranjau/L’Eclipse Nue, Vales, Raven, Third I, Nyhos, SBDD, ???