“Fantastic set by Matthew Valentine and Erika Elder from the recent UK tour in February 2010 recorded at the Brudenell Social Club, Leeds.  On this one the duo are joined by local resident Mick Flower on bass for the whole set and the Doozer provides blues harp on a couple of tracks.  Whilst this is the same line-up and a similar set as those played in Manchester and Coventry a few days later (captured on recent Heroine releases "(Bad) Blood on the Doozer's Guitar" and "Electric Wharf (Conventrian)") this is well worth checking out as it has quite a different sound: more agressive, bit faster and really good mix on the sonics.  Firstly, this 'bootleg' comes from two composite mixes to get it right and it shows with a much clearer recording than some of the other Heroine releases.  The set opens with "Cold Rain" which sounds sublime this time around; Mick's bass is less distorted, you can hear those melodic bass runs properly this time, and this is clearest I have heard Erika's firebird mandolin and lap steel outside of a spectrasound recording.  About four minutes in MV drops a beautiful solo with single melting notes ringing out, great version.  Next up is "Get Right Church" which is the only performance from the set which does not have such a hard edge.  Instead it is a much more authentic blues rendition which reminds me of the electric blues recordings from Chess Studios circa 1950s.  The Doozer's blues harp is simple 3-note riffs but with effective note bending in the style of Junior Wells or Little Watler, and MV's clean, single note solos sound like Hubert Sumlin.  Midway through MV produces some delicate clean wah-wah reminiscent of Hendrix's "Up from the Skies" before bursting into a fuller onslaught for the song's close.  If the versions of this song from the No Floor Tour were blues rock at their finest, then this version is simply electric blues at its finest.  Dedicated to Jo Ann Kelly who I'm sure would have approved.  "Summer Magic" returns to the more frazzled playing on this set with the opening chords being laden in wah-wah and hammered out relentlessly throughout.  Really like the version of "Environments" on this set of shows with the sitar-sounding meanderings going into waves of raga induced chord-like crescendos which whip up a frenzy.  Sounds a bit like a live take on "Jook Enthusiast", the opening track from the latest COM release "Bollywoe". Finally, a few seconds of fuzz signals the descent from "Environments" into one of the heavier versions of "Canned Happiness" I have heard, even without drums.  Not much canned boogie, only a full-on feedback onslaught just to prove they can melt guitars better than Courtis / Moore, yeah right! Only question remains, did Mick Flower's house feature in the top ten middens? Great sonics.  Highly recommended.” – Andrew Ross

Big sounding set from the quintet of Matthew Valentine, Erika Elder, Doc Dunn, Muskox and J.Mascis.  Bit of an archival release with a set recorded at Club Soda, Montreal, QC from back in January 2010 with a 800 capacity venue support slot for Dinosaur Jr. Quite a short set at 35 minutes which given the nature of the set does not have quite the same level of experimentation as a full-on MV&EE show but some great extended psychedelic jams on this one. The set opens with a great version of "Cold Rain" which probably sounds closest to some classic 1969-era "Dark Star" from the Grateful Dead. Some great weaving and intertwined guitar between the various players including some delightful melodic bass. Towards the end the songs picks up building into an almost kosmische vibe or even Neu! type groove. Next is the set's highlight which is a fantastic jam on "Get Right Church" with the rhythm section really coming into its own providing that classic 70s tight but loose feel. Some great lazy drums fills mixed with some crashing symbols and the bass playing sounding somewhere between Larry "The Mole" Taylor of Canned Heat and Bill Cox from the various Hendrix outfits.  In fact the Band of Gypsys is quite a close comparison here with a real groove to some of the jams which sound so effortless and fluid. Over the top there is some tremendous psychedelic blues jam guitar from MV - my kinda stuff that I would happily listen to for hours. This segues into quite a different version of "Environments" which has a real space rock or kosmische jam feel to it. Long, mellow drawn out feedback with J.Mascis playing lots of cymbal work and snare-brushing over the top. The set closes with a 'big-sounding' version of "Summer Magic". I really like the massively amplified whispered vocals from Erika during the chorus which is quite different from previous live versions and gives it quite a haunting feel. Towards the end this breaks into another extended electric guitar jam - if this is your kind of stuff then you should check this set out. Overall a set which runs: "Cold Rain", "Get Right Church" into "Environments" into "Summer Magic".  A real 70s-vibe classic guitar jam based around a solid rhythm section in the style of Canned Heat, Hendrix and The Allman Brothers Band with some space rock thrown in the mix.  Also love the classic 70s rock double-live album cover shot with the full stage lights behind all the guitarists. It's recommended. – Andrew Ross.

“Single ‘drone-raga’ performance from Matthew Valentine and Erika Elder, joined by a free folk travelling band of Doc Dunn, Mike “Muscox” Smith, Willie Lane and Tim Barnes. A major archival and historic document of a performance at the Seventh Annual Terrastock Festival held in Louisville, Kentucky. Back in June 2008, MV&EE with the Golden Road embarked on the 16-date “Rust Belt, Plumber Ass tour” which included a two-day stop at the Terrastock Festival. The touring Golden Road comprised Doc Dunn and Mike Smith with Willie Lane sitting in for a few shows; the Terrastock festival saw the addition of Tim Barnes to drop some beats and heavy percussive sounds.  The group’s official set was on the 21^st with an impromptu set on the 22^nd on the acoustic ‘Third Stage’.  It’s this second set presented here, which consists of a single 24-minute performance of “Environments”. On the technical side, this particular set has been carefully restored by a matrix mix from two source tapes. This is a deeply engaging listen with a strong drone element to the performance which slowly builds into a full-blown multi-stringed, percussion-driven raga. A massively complex but improvised construction which combines electric, acoustic and percussive sounds via a variety of instruments as each of the players applies their craft.  At times there is a subtlety and deftness of touch combined with intimate creative detail that reminds me of Kosugi et al’s Improvisation Sept. 1974 but the variety of instrumentation takes it beyond simple drone in the same way as Tetragrammaton’s excellent Point of Convergence CD on Utech.
Over the opening eight minutes or so the resonating acoustic drone is continuously interrupted by the dominating sound of thick bending deep strings which sound like a tambura or gimbri. This sound is created by changing notes on the electrified banjo by using the tuning pegs. The raga banjo slowly appears, followed by some delicate percussion and then some bowed strings. At around 13 minutes or so the drone volume intensifies with an increased flurry of notes from the banjo imitating a sitar.  Through some intricate use of pedals we hear what can be best described as crashing or whiplashed wah-wah chords. As the performance continues to build the introduction of further drums like a pounding drone or tribal tattoo – played with the same ferocity and thundering rhythm as Pink Floyd’s live version of “Saucerful of Secrets” – brings the song to a climax. A complex performance which requires the listener to be completely submerged to fully appreciate its intricacies. Really like the cover with a blurred snap of the free folk travellers mid-performance. As a festival which also included Damon & Naomi, Pelt, Jack Rose & The Black Twig Pickers, Bardo Pond and Makoto Kawabata it is fascinating to hear this performance as part of development of the free-folk/acid-folk underground. It’s recommended.” – Andrew Ross. 

“Deep, dark-edged sounding duo set from Matthew Valentine and Erika Elder recorded back in November 2010. With so many sets released recently with various augmented line-ups I’d almost forgotten how much I enjoy these duo exchanges. Around this time there were a few acoustic duo shows with Woods but here we are treated to a sublime electric duo version. Opener “Cold Rain” has an extended four minute intro with slightly alternative opening chords and some lucid guitar playing before the familiar finger-picked chords emerge. There’s a nice echoey feel to the vocals which give the track a bit of haunted feel. Slightly different sounding version that is well worth checking out.  Next up is a really trashed version of “I Got Caves In There”. Previous versions with light finger-picked acoustic guitar are replaced by heavy strumming of the chords laden thick with overdrive. MV attacks the strumming guitar almost relentlessly, even when mouth harp is added, giving this quite a dark edge and maybe reminding me of Lou Reed or some loner biker psych record like Purling Hiss.  Again Erika’s vocals sound excellent in the mix laden with vocal FX. This is followed by the recorded live debut of “Crow Jane” originally from “Liberty Rose” (COM34). The picked melancholy guitar chords with the addition of Erika’s almost weeping slide guitar, the eerie sounding vocals combined with the traditional lyrics, give this a real haunting feel reminiscent of traditional dark folk ballads. This segues into a really different version of “Environments” which employs the raga banjo but the initial improvised lines have a real celtic or traditional folk melody to them reminding me of Davy Graham or even Robbie Basho. This then erupts into frantically strummed raga chords creating walls of pure sound. This segues into the set closer of “Huna Cosm” which was one of the highlights of the recent “Steal Yr Slice” tour. That version is played here but with the absence of Mick’s bassline the strummed guitars are replaced by gently picked delicate chords. The result being a sublime fragile version with a real late night loner psych feel to it; Erika’s weeping slide guitar drawing heavy on the soul.
Overall, a set which runs “Cold Rain”, “I Got Caves In There” and “Crow Jane” into “Environments” into “Huna Cosm”. A set which has a real dark or melancholic undercurrent to it –always great to hear how MV&EE can interpret and rework their material in radically different ways – a real keeper for sure. It’s blasted wavelength, it’s alternative frequencies. It’s highly recommended.” – Andrew Ross. 

“Big sounding highly energetic set from the trio of Matthew Valentine, Erika Elder and Mick Flower from the infamous “Steal Yr Slice” tour joined by Andy Ramsay (drums) and The Doozer (mouth harp). Towards the end of this tour the group started to play two sets a night with not much of an acoustic/electric split but probably more of an experimental trio/stretched out Golden Road jams split.  Presented here is the second set from the show at Café Oto which is fast becoming one of London’s premier underground music venues. I actually attended this show and there was a tremendous atmosphere with everyone sat round tables looking like a scene out some Parisienne café. The microbrews kicked in by the time the second set came round. This set is also notable as it marks the live debut/audition of Andy Ramsay (of Stereolab fame on drums). First off the sound quality on this recording is fantastic with the drums sounding really full giving the overall set a big sound of monumental proportions. Secondly, it is fair to note that given this is the debut performance of a new line-up the particular choice of numbers, rockers like “East Mountain Joint”, “Get Right Church” and “Canned Happiness” lend themselves towards more strung out blues jams in the style of the Allman Brothers Band or Canned Heat. Probably most similar sounding to the recent Freak Flag set a couple of nights later from Exeter. The set opens with one of the tour’s highlights, a reworked version of “East Mountain Joint”. The drums are played with a motoric precision and with minimal fills giving the song an almost euphoric drive. Mick’s melodic basslines sound particularly fantastic with a really good sounding mix between all the guitars. At about five minutes the song breaks into a two-note bassline which signals the start of that west coast style jam. Compared to other versions though, the song seems to naturally speed-up, giving this a really energetic edge. The song breaks again into a slower paced section before finishing on a kind of start/stop break beat rhythm. This is one of the highlights of the set for me. The addition of slow pounding drums turns “Home Comfort” into a real Neil Young/Crazy Horse sounding jam. MV is particularly wild on guitar on this one, sounding almost possessed while laying down walls of feedback between wild flurries of notes. A rarely available cover of Dylan’s “Positively 4^th Street” makes a welcome return having only previously appeared on the Red Head Transistor and Not Only Wine But Oblivion I Pour sets. However, given both those were duo performances this is the only true authentic “Dylan ‘65” sounding electric folk version. The set finishes with some monumental blues jams around “Get Right Church” and “Canned Happiness”. The Doozer’s simple but effective three-note bending harmonica riffs really enhance those numbers and Anram’s double kick-drum fills give them a real driving energy, inspiring MV to some wild electric blues – sweet, my kind of stuff.  Overall, a set which runs: “East Mountain Joint”, “Home Comfort”, “’Scuse Me Rap”, “Positively 4^th Street”, “Reconnoitering The Lovejoy Rap”, “Get Right Church”, “Help Yrself Carny Rap” and finally “Canned Happiness” into “Environments” back into “Canned Happiness”. Fairly long single set at 59 minutes, recommended for those who like their extended sweet Golden Road style jams. On the basis of the quality of this recording I can’t wait to hear the first set whose release is imminent. It’s recommended.” – Andrew Ross.

“Alternative version of what was originally the Home Comfort LP on Woodsist. Initially this version was only available direct at the shows on the “April Flower” tour. The idea was that this would be the same tracks and running order as the original live compilation Home Comfort LP but with the selected versions chosen from completely different sources. Although all the alternative versions have previously been available as part of their respective shows this compilation has been carefully pieced together with great packaging replicating the original. All versions feature the core line-up of Matthew Valentine, Erika Elder and Mick Flower. Listening to these tracks again out of their original shows or next to tracks from other shows put these into a completely new context and thus a completely different experience for the listener. It’s fascinating to hear another set of three versions of environments sitting alongside each other and comparing the radically different interpretations on different performances. The version from “Hot Breezer” (which was previously un-credited) is a transcendental raga pinned by a high-sounding tabla with eastern blues infused lucid meanderings.  This sounds radically different from the wild version played at the Shambala festival (Hit The Midway (Laser Prosody)) which featured the full deployment of environ drums and space FX.  Another highlight of this compilation is the version of “Get Right Church” from Econoline Natives.  This was initially only available as a super-limited Heroine release and also on last year’s “No Floor Tour” cassette box set on Blackest Rainbow. If you did not manage to secure a copy of either of these then this is reason alone you should check this out as it remains my hands-down favourite version of the track. The compilation has been carefully put together with all tracks being phased together despite coming from different live sources. On the original Home Comfort the versions of “Environments” were edited before being phased together but the full alternative versions are made available here. The cover has also been carefully restored. The original Home Comfort LP was also available in a very limited edition on Woodsist offshoot label Hello Sunshine (HS-001). Compared to the original cover sleeve this was a black and white paste on photocopy. It is this rarer version that has been replicated for the Alt Hardcore cover right down to the detail of the record label address on the back. The compilation also comes with a fold-out printed sheet of all the performances, alternative source and players replicating the sheet of the original. Printed and packaged in a plastic slipcase in the usual Heroine style.  Overall, a worthwhile compilation that works in its own right. It’s alternative home comfort, it’s alternative hardcore.” – Andrew Ross.

“Delightful archival release from the duo of Matthew Valentine and Erika Elder from the Village Tavern, Mount Pleasant from back in January 2009.  Part of the 20 plus date tour from January 2009 to support the then new Drone Trailer album tentatively titled the Drone Trails tour. Not surprisingly the sets from this tour draw heavily from that album’s material with at least four or five songs included in the setlist. This tour has been fairly well represented so far by previous releases Space, Bill Lee Versus Powerman Or King Tubby’s Homestead, Expo 1 and a personal favourite, the live on air radio show of Mutron Lovers. These sets are all particularly memorable for me as they demonstrate the sonic dynamics of both sounds of the duo format; and this set is no exception. From the stripped, raw, almost primitive sounding numbers of two guitars and vocals next to the numbers where they really push the ‘possibilities’ of the duo format to its extreme with some really exploratory sounds, like two sonic alchemists, trying to recreate the psychedelic sounds of tracks like “Huna Cosm” and “Weatherhead Hollow”. In fact these sets are notable, with the exception of some trio performances with Willie Lane later in the year, as the only recorded live performances of the psychedelic opus that is “Weatherhead Hollow” – a major cause for celebration round these parts. If that wasn’t enough this is a strange recording with, at times, a bit of background noise that seems to add to the occasion including a game of pool. You can even hear the clinking of the balls giving this its Gene Pool title. That said, this is an incredibly clear sounding recording with the vocals really high in the mix and Erika’s pedal steel never sounding better.
The set opens with “The Hungry Stones” played as a delicately finger-picked country folk blues.  The dual vocals sound particularly beautiful on this one mixed with some heart rendering pedal steel guitar and some fat bends on the blues harp; a real treat. Next up is one of the set’s highlights with a sublime version of “Huna Cosm” which can best be described as fragmented deconstructed psychedelic space blues. This is played super slow, like the original studio version, almost collapsing at times and loosely held together by single gently plucked chords laced in space FX. Erika’s pedal steel at times sounds like some kind of electronic oscillator. At 1m phased space vocals appear with echo FX to add to the occasion. Also a great guitar solo on this around 3m with looped backward guitar sounds and delay FX. Compared to recent live versions that sound like some kind of Mississippi swamp blues this is more PK Dick than Howlin’ Wolf. This segues into a real primitive sounding version of Drone Trailer opener “Anyway”, stripped here of its full Golden Road treatment compared to the studio version.  An acoustic driven country rocker with Erika delivering a vocal reminiscent of that one from “Death Is My Friend” (from Liberty Rose - COM34) or even “Freight Train” (from Lunar Blues – COM16).  There are a couple of great frazzled garage fuzz sounding guitar solos from MV at 2m12s and again at 3m50s. Next up is “Cold Rain” with the ‘gene pool’ in full effect adding some strange percussion over the delicately finger-picked chords at the start. There is a really lucid psychedelic solo at 2m53s on this one with backward guitar which is a real treat. The set closes with the other major highlight which is the psychedelic opus known as “Weatherhead Hollow”. Following the dark sounding opening verses at 3m22s, stabs of whiplashing wah-wah guitar appear interspersed with lucid meanderings. This develops into a really loose jam. Towards the end about 8m or so the song breaks into a passage almost solely built around feedback with some really explorative sounds. This is not unlike some of the moments from the guitar triptych from Herbcraft’s recent Ashram To The Stars LP.  At about 11m or so this descends further into strange space guitar, pulsating feedback and the sound of roaring rocket engines. Forget phasers, set sonics to stun. Overall, a set which runs: “The Hungry Stones”, “Huna Cosm”, “Anyway”, “Crowd Control Rap”, “Cold Rain”, “Uranian Ray Request” and “Weatherhead Hollow”. Great mix of dynamics on this one from a great run of shows.  Personal highlights include the real explorative sounds and jams pushing the duo format on numbers like “Huna Cosm” and “Weatherhead Hollow”. It’s deeeep and it’s highly recommended.” – Andrew Ross. 

“Totally killer set from the duo of Matthew Valentine and Erika Elder joined by Canadian Mike ‘Muscox’ Smith. Really recent set recorded at Casa del Popolo, Montreal, QC from April 2011 from a run of three random shows following the April Flower Tour. Been really admiring the bass playing of Muscox lately ever since hearing those bass runs from the archival Double Double Raw set which were pure Jack Casady. Combined with his recent contributions to the Country Stash LP and his acoustic bass playing on “Ease My Eyes” from MV’s solo LP which was so pure and organic I was almost salivating for this one to arrive. And the resounding conclusion is that it is does not disappoint on any level.
Opener “Cold Rain” is simply sublime with the most beautiful interplay between MV’s guitar and Muscox’s bass that is pure Jerry Garcia and Phil Lesh. If “Dark Star”-era Dead is your kinda thing then you have got to check this out. The extended four minute intro with the art of weaving between guitar, bass and slide (even incorporating the use of some harmonics) gets me every time. Following the verse this splits into a super psychedelic lucid jam in the middle. So many live versions of “Cold Rain” exist but each time they seem to find a slightly different arrangement that never disappoints – a great version that’s a real keeper for sure. Next up is “Tea Devil” which borrows the Country Stash arrangement but interesting to hear it played slightly differently without Mick Flower. It is mixed up a bit here with more of a start-stop version between stanzas with Erika at times almost whispering the vocals. There is some great guitar with one of those Takashi Mizutani sounding solos at 5m55s as well as those high-end chords mixed with some backward guitar. At about eight minutes or so the song breaks into a fairly lucid jam; there is a great new extended bass lead passageway at the end that is laced with some pretty psychedelic guitar that finally segues into “Crash Palace of Records”. With the exception of “Tea Devil” this is the first live recording of the new material from “Country Stash”.  With Muscox having already applied his trade to the original studio version this is a sweet sounding live version with a great backward guitar solo. If it couldn’t get any better there is a re-worked version of “Environments” which sounds dramatically different to some of the recent live arrangements. It opens with some lucid meanderings on the banjo, but slightly less like the strong eastern raga versions of late, with a slight celtic edge sounding somewhere between Davy Graham and Paul Metzger. This is combined with some space FX sounding slide guitar and subtle walls of intermittent feedback that sound like pulsating orbs. This breaks into some slowly plucked melodic chords which are looped before returning to the banjo. The banjo passages sound much more carefully considered with as much respect for space as flurries of notes, repeating certain passages as if chanced upon. There is also some kosmische flute added courtesy of Muscox which seals the deal, coming over like a cross between Traffic and some meditation jam. At about 7m more frantically strummed raga passages appear accompanied by jazz-like runs on the flute. The addition of percussion at 10 minutes then gives way to the introduction of Muscox’s bass and some beautiful high-end melodies. The frantically strummed walls of raga chords and feedback appear at 11 minutes with MV then swapping banjo for guitar.  The song closes with some light sounding tabla drums, a real organic bass groove and some further wild atonal electric guitar! - this version is really that good. This segues into a real transcendental version of “Drone Trailer” with some delightfully melodic solo expressions from MV mixed with Erika’s pedal steel as part of the song’s extended intro. This is a beautifully restrained version with some heart-breaking harp and Muscox pinning it down throughout. The set closes with the road anthem of “Feelin’ Fine”.
Overall, a set which runs: “Cold Rain”, “Tea Devil” into “Crash Palace Of Records”, “Musk Atom Heart Shout Out”, “Environments” into “Drone Trailer”, and finally “Feelin’ Fine”. This is a great set with personal highlights including the guitar weaving on “Cold Rain”, the lucid jam at the end of “Tea Devil” and a radically different sounding version of “Environments” which works a number of new ideas and themes. For me there’s always something new in each Heroine release but this one feels a bit special. It’s highly recommended.” – Andrew Ross.