ESP Summer
Kingdom Of Heaven
Boomkat Product Review:
Pale Saints' Ian Masters and His Name Is Alive's Warren Defever join forces to deconstruct The 13th Floor Elevators' psych classic 'Kingdom of Heaven' and project themselves into a wild, creative musical netherworld split across four tracks. Seriously damaged.
"Kingdom of Heaven" was originally released as a limited lathe cut in Japan, but has thankfully now been opened up to the rest of us. The concept is simple, Master and Defever use the 1966-released 'Kingdom of Heaven' as the springboard for a project that, basically, disintegrates the psychedelic classic into sprawling, hydra-like entities.
Opening track 'Tengoku no ōkoku' is the most expected take and burns with the pulsing dream-pop energy you'd expect from two former 4AD heads, but from there things get a little more murky. 'Kumamushi' veers away completely from the original, layering guitar licks and loops over elegiac vocals before melting into analogue drones and ghostly vocal traces. If the original track was an expression of the band's interest in LSD, this track makes that link painfully obvious.
'Taishōgoto o ōkoku' strips things back to the raw materials, with just guitar and vocals, but it's 15-minute closer 'Uchu' that's the real draw. Glued together with flute sounds, canned vocals and early electronic burbles, before evolving into pastoral synth ambience, it almost sounds like Flying Saucer Attack jamming with Sunburned Hand of the Man. Torched.
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Boomkat Product Review:
Pale Saints' Ian Masters and His Name Is Alive's Warren Defever join forces to deconstruct The 13th Floor Elevators' psych classic 'Kingdom of Heaven' and project themselves into a wild, creative musical netherworld split across four tracks. Seriously damaged.
"Kingdom of Heaven" was originally released as a limited lathe cut in Japan, but has thankfully now been opened up to the rest of us. The concept is simple, Master and Defever use the 1966-released 'Kingdom of Heaven' as the springboard for a project that, basically, disintegrates the psychedelic classic into sprawling, hydra-like entities.
Opening track 'Tengoku no ōkoku' is the most expected take and burns with the pulsing dream-pop energy you'd expect from two former 4AD heads, but from there things get a little more murky. 'Kumamushi' veers away completely from the original, layering guitar licks and loops over elegiac vocals before melting into analogue drones and ghostly vocal traces. If the original track was an expression of the band's interest in LSD, this track makes that link painfully obvious.
'Taishōgoto o ōkoku' strips things back to the raw materials, with just guitar and vocals, but it's 15-minute closer 'Uchu' that's the real draw. Glued together with flute sounds, canned vocals and early electronic burbles, before evolving into pastoral synth ambience, it almost sounds like Flying Saucer Attack jamming with Sunburned Hand of the Man. Torched.
Boomkat Product Review:
Pale Saints' Ian Masters and His Name Is Alive's Warren Defever join forces to deconstruct The 13th Floor Elevators' psych classic 'Kingdom of Heaven' and project themselves into a wild, creative musical netherworld split across four tracks. Seriously damaged.
"Kingdom of Heaven" was originally released as a limited lathe cut in Japan, but has thankfully now been opened up to the rest of us. The concept is simple, Master and Defever use the 1966-released 'Kingdom of Heaven' as the springboard for a project that, basically, disintegrates the psychedelic classic into sprawling, hydra-like entities.
Opening track 'Tengoku no ōkoku' is the most expected take and burns with the pulsing dream-pop energy you'd expect from two former 4AD heads, but from there things get a little more murky. 'Kumamushi' veers away completely from the original, layering guitar licks and loops over elegiac vocals before melting into analogue drones and ghostly vocal traces. If the original track was an expression of the band's interest in LSD, this track makes that link painfully obvious.
'Taishōgoto o ōkoku' strips things back to the raw materials, with just guitar and vocals, but it's 15-minute closer 'Uchu' that's the real draw. Glued together with flute sounds, canned vocals and early electronic burbles, before evolving into pastoral synth ambience, it almost sounds like Flying Saucer Attack jamming with Sunburned Hand of the Man. Torched.
Boomkat Product Review:
Pale Saints' Ian Masters and His Name Is Alive's Warren Defever join forces to deconstruct The 13th Floor Elevators' psych classic 'Kingdom of Heaven' and project themselves into a wild, creative musical netherworld split across four tracks. Seriously damaged.
"Kingdom of Heaven" was originally released as a limited lathe cut in Japan, but has thankfully now been opened up to the rest of us. The concept is simple, Master and Defever use the 1966-released 'Kingdom of Heaven' as the springboard for a project that, basically, disintegrates the psychedelic classic into sprawling, hydra-like entities.
Opening track 'Tengoku no ōkoku' is the most expected take and burns with the pulsing dream-pop energy you'd expect from two former 4AD heads, but from there things get a little more murky. 'Kumamushi' veers away completely from the original, layering guitar licks and loops over elegiac vocals before melting into analogue drones and ghostly vocal traces. If the original track was an expression of the band's interest in LSD, this track makes that link painfully obvious.
'Taishōgoto o ōkoku' strips things back to the raw materials, with just guitar and vocals, but it's 15-minute closer 'Uchu' that's the real draw. Glued together with flute sounds, canned vocals and early electronic burbles, before evolving into pastoral synth ambience, it almost sounds like Flying Saucer Attack jamming with Sunburned Hand of the Man. Torched.
Clear vinyl. Two-Sided Full Colour Newsprint Poster. Housed in Silver Foil-Embossed Die Cut Sleeve
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Pale Saints' Ian Masters and His Name Is Alive's Warren Defever join forces to deconstruct The 13th Floor Elevators' psych classic 'Kingdom of Heaven' and project themselves into a wild, creative musical netherworld split across four tracks. Seriously damaged.
"Kingdom of Heaven" was originally released as a limited lathe cut in Japan, but has thankfully now been opened up to the rest of us. The concept is simple, Master and Defever use the 1966-released 'Kingdom of Heaven' as the springboard for a project that, basically, disintegrates the psychedelic classic into sprawling, hydra-like entities.
Opening track 'Tengoku no ōkoku' is the most expected take and burns with the pulsing dream-pop energy you'd expect from two former 4AD heads, but from there things get a little more murky. 'Kumamushi' veers away completely from the original, layering guitar licks and loops over elegiac vocals before melting into analogue drones and ghostly vocal traces. If the original track was an expression of the band's interest in LSD, this track makes that link painfully obvious.
'Taishōgoto o ōkoku' strips things back to the raw materials, with just guitar and vocals, but it's 15-minute closer 'Uchu' that's the real draw. Glued together with flute sounds, canned vocals and early electronic burbles, before evolving into pastoral synth ambience, it almost sounds like Flying Saucer Attack jamming with Sunburned Hand of the Man. Torched.
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