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There was a time in the early noughties when a little bar in Troy, New York played home to some of the most bleeding edge computer music and video work being done anywhere. Late Tuesday nights at Positively Fourth Street were a swirl of hypnotic visuals, experimental beats, and a crowd of local artists and software developers who performed for each other, trotting out their latest creations and upping the ante with every show. The event was the weekly public manifestation of an arts and technology collective called Goodship that spawned, among other things, the popular video performance software VDMX.

Sound artists Stephan Moore and Scott Smallwood's Evidence were regular performers at Goodship Tuesdays. This record is a pristine recording of their final performance at Positively 4th Street in 2004, at the top of their game as improvisors of unplanned sonic textures and abstract beat constructions. Evidence has gone on to perform internationally using objects, homemade electronics and radio broadcast equipment, with a specialization in non-traditional venues and circumstances, but this recording captures the essence of their work in a venue as comfortable as home.

12" Vinyl. 2004. Onion Flavored Records

Tracks:
1. A River Runs Through It
2. (You Get On My) Last Fuckin' Nerve
3. Expired Tags
4. Things With Wings
5. (I Used To Be A) Drunken Ho
6. Stir Crazy
7. Vegetarian
8. 20 Seconds Over Hillsboro

"I'm a moron. I didn't even know that Erin Yanke was the drummer for this group. This is probably the punkest thing that Paul has put out, and it's pretty mental. Eight fast and furious garage blasts that remind me a bit of Gaunt and Teengenerate. Belted vocals sound like they're spitting out lines between trips to the vomitorium. It's real rough, but the songs have a tight structure and rhythm that make the songs, I dunno, they're sort of pop songs in a gargling-with-whisky sort of way. The first track is my favorite. I love those "fuck my hometown" anthems ever since the first time I heard "At The Edge" by SLF and "A River Runs Through It" is in that same tradition. "So what if a river runs though it? You can hang yourself from the highest bridge. Go 'head and do it!" Yeah!"

--The late and much missed Lance Hahn in the Honey Bear Newsletter

7" record

Crashin' In says: ...extremely jerky, dancy, and fun. [Tyler] has made a name for himself by remixing The Faint's last album and with ...By The Trail of Dead. Suzanne Thorpe from Mercury Rev also makes a guest appearance. It sounds like Ladytron on tons of acid and speed. Cool stuff for fans of The Unicorns, Le Tigre, Les George Leningrad, Numbers, and Erase Errata.

"Smallwood and Moore make highly effective use of the world as instrument ... the contours of actual locations melt down to a distillation of their sounding properties. [Out of Town] finds cosmic and glacial evocations in the everyday, celestial vistas in the heart of banality. First and foremost, though, it's about hearing what's actually there and opening that out to a deeper listening." -- The Wire 236 - Oct. 2003

"Out of Town is filled with magical moments as the world transforms itself in the listeners ears." -- Signal to Noise 32, winter 2004

Tracks:
1. You Can't Outrun the Radio
2. Let It Die
3. Pheremones
4. Now It's Time to Assimilate
5. Reagan's Remains
6. Quarters
7. Bye Bye Bike
8. Why Do What Now?
9. Willamette
10. Erin Yanke Loves a Parade
11. Consider the Power

12" vinyl or CD

Upbeat, energetic rock and roll with the guitars fat in the mix and a nice line in ringing power chords... This is pretty much a thriil ride, starting with the first song and not stopping for breath. Pretty Rockin'. --Allan McNaughton in MaximumRockNRoll

Things kick off with a great and urgent punk 'n' roll song called 'You Can't Outrun the Radio' which just must be their gig anthem. Fast bass lines and a snotty edge bring to mind early Rancid meets the Dead Kennedys, definitely. And then things change a little, with track number two rocking out like one of those awesome Brand New Unit tracks, even down to the chord changes and vocals. Things continue chopping and changing through all 11 tracks and, together with the raw production and sarc astic vocal urgency not unlike the Spermbirds in their heyday. Don't Give Up The Ship leaves you feeling like you've just listened to a REAL punk record--a rare thing these days. As you must have figured out by now, this is pretty damn good. --Flipside Magazine

7" vinyl.
Includes lyric sheet.

"I'm really impressed with this debut 7" from this Portland band. These songs are full of anger and disgust. "Get Me the Fuck Away from These People" has got to be one of the best song titles ever, and the song is a great Superchunk sounding tune about hating your job, your co-workers, and the misery it all brings to your life. "Kitchen" is about feeling all alone and drinking to kill your boredom and loneliness. "Morons", "Past Tense" and "80 mg/day" are all great songs too."

review from Beer Can Fanzine

7" record

7" record

"This demo has been on repeat in my CD player for the better part of several weeks now, because it completely shreds across the board. This is classic doom by way of hardcore, crusty sludge, and I have completely fallen in love with their take on this style. The band take driving, hardcore riffs that bands like eyehategod and Cavity mastered, mix it up with the classic groove and swing of Black Sabbath and St. Vitus and they add memorable, melodic flourishes throughout."
review on Hellride Music

TRACKS:
1. Inspector's Test (Offset Needle Radius)
2. Man on A Ladder (nickname: Rebel)
3. Print Through (nickname: Rebel)
4. Quarter Inch Jack (nickname: Rebel)
5. Ouroboros (nickname: Rebel)

Inspector's Test Video Edit:

Reviews:

Dark-ish, ambient-ish, psychedellic-y lunarscapes that you can dance on, but only with a zero gravity lumbering gait. --Rocktober Magazine #47, Fall 2009

Marc Arsenault and Joshua Baker come to improvised guitar music from a background in avant-rock bands, and now call themselves Nickname: Rebel and Offset Needle Radius respectively. On Nickname: Rebel Vs Offset Needle Radius (WOW COOL 24/005), they turn in some very credible meandering guitar-scaping episodes full of vast abstractions and intricate scrapey doodles, largely avoiding unpleasant noise or feedback in favour of continuous, real-time playing, only slightly enhanced with foreign-sounding effects and treatments --Ed Pinsent, The Sound Projector, February 14, 2010

Experimental - Triptastical Nonstructure Who needs form and void when you can float out into the nether regions of the ether? Imagine the track -IONS- from Tool's Aenima stretched across an entire album. --Cheshire Cat, WESU FM

"If you ever heard the sound of lightbulb that is near the end of its life, you may have any idea how this release sounds: the sound static electricity. That may sound simple, but Smallwood knows how to craft a very fine piece of music. Some of these pieces are downright 'industrial' - and I mean industrial in the sense of industry, not the musical term - and 'noise coming from a factory' like in 'Energex', but in other instances the statics are cut up into rhythms and even music, like in 'Sunkraft' or in 'Ropiquet'. Here Smallwood creates zombie-like techno music, more electric than Pan Sonic. Especially in these two tracks, Smallwood shows us the potential of creating 'music' out of 'noise' - and I see even possibilities of a remix project there."
---Frans de Waard, Vital Newsletter.

Each track negotiates a balance between acoustic sound sources and electronics, live performance and studio composition, and human vs. algorithmic control of sound materials. Time is continually bent into new shapes, challenging the listener, and his collaborators, to think beyond the easy comforts of a regular tempo, and confront rhythm as texture instead of a reliable grid. Brooklyn-based sound artist Stephan Moore's recent musical work centers around the collection and use of real-world sound, the creation and perception of sonic environments, and technological manifestations of improvisation and interactivity. He develops his own performance software and builds point-source loudspeakers for use in his performances and sound installation work. His current ongoing collaborations include the Xenolinguistics performance project with visionary video artist Diana Reed Slattery, projects with choreographers Yanira Castro and Kimberly Young and performance artist Kyle DeCamp, sound design for the Nerve Tank theater collective, and the performing/recording duo Evidence with sound artist Scott Smallwood. He curates a concert series at the Merce Cunningham Dance Studio called Experiments in the Studio, and co-curates an annual month-long Floating Points festival of performances and sound installations at the ISSUE Project Room in Brooklyn, pairing the permanent sixteen-channel installation of his Hemisphere speakers there with diverse artists."

On the Deep Listening Label

Audio CD