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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.

A movement has grown in America for the last few years of weight lifters and strength trainers who reject the world of drugs and complicated exercise machines. Instead they have adopted the training methods and equipment of Asia and old time strongmen. At an annual picnic in the sleepy college town of Bowling Green, Ohio, these modern day Samsons swing indian clubs, lift Shaolin stone locks and balls, and perform amazing feats of strength; the likes have not been seen since the sideshows of yesteryear.

Bob Hoffman would be proud. Not since his Birthday Picnics has the strength world seen an event like this! A genuine strongman picnic has been absent since the Mighty Atom performed for the York Barbell Company and John Grimek answered questions about how to get bigger arms. The modern cast of characters includes Pat "The Human Vise" Povilaitis, Dockery & Rosendaul's Kettlebell Juggling Team, "Big" Bob Karhan, 7'2" Bobby Saxon, Greg "Magic Fingers" Irwin and the Unknown Strongest Man From Cleveland, and many more players of the Iron Game. Music by Jason Martin of Evolution Revolution and Brown Cuts Neighbors.

About the Actor
Pat Povilaitis is a master strongman and probably the world's greatest short bender. He has the honor of being one of the few men who is has Certified as both an IronMind Captains of Crush #3 closer as well as a Red Nail bender. Pat began his performing strongman career by perfoming at the Association of Old Time Barbell and Strongman Annual Dinner and Reunion and hasn't looked back since. At 168 pounds he can pick up an over 290lb smooth granite Atlas stone, drop into a deep squat, and while supporting the stone with little or no bracing, bend a horseshoe entirely around into a heart shape.

About the Director
Marc Arsenault is a contributing writer and photographer for Kung Fu Tai Chi Magazine. He is also the co-editor, art director and chief photographer of Clawmarks - the largest circulation Martial Arts Business Newsletter in North America. He originally reported on the adoption of traditional Shaolin training tools by American weight lifters and athletes in Clawmarks in 2004. He was a member of the influential music/video/art collective Brown Cuts Neighbors until the group's retirement in 2002. His solo and collaborative art and video works have been exhibited in: Berlin, Germany; Torino, Italy; New York City; Berkeley, California; Austin, Texas; Buffalo, New York; Knoxville, Tennnessee; Albany, New York and Dallas, Texas.

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

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

Video Preview:

Robot 6 interview with Michael Dowers on CBR

If you want me to sign the book or include a sketch, please make a note when you check out. -Marc Arsenault

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

After cutting his teeth writing music reviews for weeklies in New York and a decade-plus span editing and self-publishing zines in California and Oregon, Ian Lynam jumped ship and opened a multi-disciplinary design studio in Tokyo, Japan. Previously, he had spent years working in print shops learning the intricacies of presswork and logged time as a designer and art director for some of the top design firms and advertising agencies in the U.S. His writing has been published in Font Magazine, Art in America, PingMag, and Plazm. Lynam's work has been featured in numerous graphic design books and magazines including Territory, Grafik, One Hundred at 360, and Ten Essential Typefaces for a Lifetime. His studio focuses on pan-cultural identity design, motion graphics, editorial design, and apparel graphics. The studio client roster includes heavy hitters such as MTV, Nike, NEC, and VH1. He is a graduate of Portland State University (B.S., Graphic Design) and California Institute of the Arts (M.F.A. Graphic Design).

from SLG Publishing
144 pages
Color covers, black and white interior.
Includes notes and translations of foreign phrases, cover gallery, pinups and paper dolls.

ISBN # 9781593620813
UPC Code 9781593620813

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