Hello, today the third and final instalment of the KLF saga, as mentioned earlier their ambient work set me on creating a whole week on the Kopyright Liberation Freedom fighters, little did they know what was to follow a decade later with the internet Yet as an artist it's still a deadly sin to sample an other that is not if your willing top pay the often outragous price, then it's ok, which makes the matter not one of principle but money.
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The K Foundation was an arts foundation established by Drummond and Cauty in 1993 following their 'retirement' from the music industry. From 1993 to 1995 they engaged in a number of art projects and media campaigns, including the high-profile K Foundation art award (for the "worst artist of the year"). Most notoriously, they burnt (sacrificed ?) what was left of their KLF earnings—a million pounds in cash—and filmed the performance. In 1995, Drummond and Cauty contributed a song to The Help Album as The One World Orchestra "The Magnificent" is a drum'n'bass version of the theme tune from The Magnificent Seven. On 17 September 1997, ten years after their debut album 1987, Drummond and Cauty re-emerged briefly as 2K. They made a one-off performance at London's Barbican Arts Centre with Mark Manning, Acid Brass, the Liverpool Dockers and Gimpo; a performance at which "Two elderly gentlemen, reeking of Dettol, caused havoc in their motorised wheelchairs. These old reprobates, bearing a grandfatherly resemblance to messrs Cauty and Drummond, claimed to have just been asked along.The song performed at the Barbican – "Fuck the Millennium" (a remix of "What Time Is Love?" featuring Acid Brass and incorporating elements of the hymn "Eternal Father, Strong to Save") – was also released as single. At the same time a cd appeared by the Kopyright Liberation Front (KLF) " Waiting For The Rites Of Mu" a two track cd that held the soundtrack to the movie Waiting as well as a new track The Rites of Mu inspired by the solstice party they gave in 1991.
From their very earliest releases as The Justified Ancients of Mu Mu until their retirement in 1992, the music of Bill Drummond and Jimmy Cauty was independently released in their home country (the UK). By the end of 1987 Drummond and Cauty had renamed their label to "KLF Communications" and, in October 1987, the first of 23 "information sheets" (self written missives from The KLF to fans and the media) was sent out by the label. Drummond and Cauty's promotional tactics were unconventional. The duo were renowned for their distinctive and humorous public appearances (including several on Top of the Pops), at which they were often costumed. From the outset of their collaborations, Drummond and Cauty practised the guerrilla communication tactic that they described as "illegal but effective use of graffiti on billboards and public buildings" in which "the original meaning of the advert would be totally subverted". Adverts were typically stark, comprising large white lettering on black. A single typeface became characteristic of all KLF Communications' and K Foundation output, being used almost exclusively on sleevenotes and record labels, merchandise and adverts.
By early 1992 the KLF was easily the best-selling, probably the most innovative, and undoubtedly the most exhilarating pop phenomenon in Britain. In five years it had gone from pressing up 500 copies of its debut recording to being one of the world's top singles acts....and then they quit an action that i believe was planned from the onset 5 years before and closed with their 23rd information sheet.
As of 2010, Bill Drummond continues to work as a writer and conceptual artist, with occasional appearances on radio and television. Jimmy Cauty has been involved in several post-KLF projects including the music and conceptual art collective Blacksmoke and, more recently, numerous creative projects with the aquarium and the L-13 Light Industrial Workshop based in Clerkenwell, London.
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Chill Out is a single continuous musical piece having many distinctive sections, each of which either segues into or introduces the next. The album as a whole is a progression, with percussion gradually introduced during the second half. The KLF have stated in interviews that the album was recorded in a 44-minute "live" take in their studio. After recording, the duo thought the sound to be evocative of a trip through the American Deep South. Drummond said "I've never been to those places. I don't know what those places are like, but in my head, I can imagine those sounds coming from those places, just looking at the map. Sheep, which appear both on the recording of Chill Out and in its sleeve artwork, became a theme of The KLF's output> Drummond explains we wanted something that kind of reflected that feeling the day after the rave, that's what we wanted the music for.
The KLF - Chill Out (90 210mb)
01 - Brownsville Turnaround on the Tex-Mex Border (1:47)
02 - Pulling Out of Ricardo and the Dusk Is Falling Fast (1:29)
03 - Six Hours to Louisiana, Black Coffee Going Cold (3:01)
04 - Dream Time in Lake Jackson (2:35)
05 - Madrugada Eterna (7:40)
06 - Justfied and Ancient Seems a Long Time Ago (1:08)
07 - Elvis on the Radio, Steel Guitar in My Soul (3:01)
08 - 3 A.M. Somewhere Out of Beaumont (9:24)
09 - Wichita Lineman Was a Song I Once Heard (5:56)
10 - Trancentral Lost in My Mind (1:16)
11 - The Lights of Baton Rouge Pass By (3:34)
12 - A Melody from a Past Life Keeps Pulling Me Back (1:41)
13 - Rock Radio into the Nineties and Beyond (1:27)
14 - Alone Again With the Dawn Coming Up (0:17)
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Space began as a collaboration between Dr. Alex Paterson and Jimmy Cauty, the original line-up of The Orb. It was, according to Cauty's record label KLF Communications, to be The Orb's debut album, but when Cauty left The Orb in early 1990 to concentrate on producing music as The KLF with Bill Drummond, he took the recordings with him. Reworked to remove Paterson's contributions, the album was released on the KLF Communications label, with Cauty alone receiving credit
Jimmy Cauty drifts off into dark and unknown territory on this continous mix/journey in a manner not as accessible (maybe) as the "Chill Out" album but more mysterious.
Space takes the listener on a voyage through the solar system from Mercury outwards-Venus-Mars-Jupiter-Saturn-Uranus-Neptune-Pluto, with vast distances of empty space between worlds represented by periods of minimalist ambience and near-silence.The marvels of the universe unravels before our very ears and it´s a serious, deep and at times almost ominous trip.
KLF (Cauty) - Space (flac 143mb)
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For the 1991 Summer Solstice, The KLF entertained a selection of music industry figures, journalists, etc. on Isle Of Jura in an event known as the Rites of Mu.The invitation said 'The KLF require your presence. You'll be transported to the lost continent Mu. Bring your passports'. Each guest was given a copy of the following statement as they travelled to Jura, by train, plane, car, bus, and boat on Friday 21st June:
The Rites Of Mu
Since That fateful day when man left by the eastern gate, fruit still fresh in his belly, those four beautiful handmaidens of Lucifer- Why What Where and When have long tempted but never quenched his distrous thirst for knowledge. The KLF have invited you to join them in celebrating The Rites Of Mu this summer solstice, during which the fall of mankind may be reversed, returning him to the garden where the rest of creation waits.
The most beautiful, yet most evil, of the four beautiful handmaidens is why- She even now may be tempting you to ask questions, when answers are not only not needed but could never be given. Since celebrating The Rites Of Mu seasons past the KLF's moment has come, shimmering and dazzling like the ahunting beauty of aurora's race, it is destined only to fade while the moment lasts their stadium house trilogy reverberates around the globe, the requests for live shows, interviews, tv appearances, remixes, promotional tours and commercial endorsements have spewed forth relentlessly from their faxmachine.
Why What Where and When have been very busy, their seduction techniques near perfect. The KLF, with regular feet of clay, have weakened at times and have pretended to answer the unanswerable. They too have tried to understand instead of accepting the unfocusable, beautiful truth of the mystery that lies at the ehart of pop's passing moments.
As well as asking you to accept the contradictions of the above we hope that you will give yourself fully to these three days, accepting whatever the elements tip our way, whatever mild physical strains may be placed upon our bodies and savour the undervalued qualities of waiting and maybe after it is all over we will understand that there is far less to understand then we ever knew.
The guests were welcomed from the ferry by Mu passport control officer Drummond in peaked cap and shades, who checked their passports and stamped them with a pyramid blaster stamp. They then allowed themselves to be dressed in yellow ceremonial robes, and led in a chanting procession by a white robed high priest of Mu with Horned God headpiece, over the moors to a bonfire beside a huge (20m?) wicker man, arms raised with weapons poised, head looking up to the sky. The four angels of Mu, in white dresses, with flower head-bands, rose from the sea, and joined the celebrants. The high priest addressed the crowd in 'a tongue that no longer exists, at least not in this world'. What did the KLF have in store, or was it the Justified Ancients Of Mu Mu controlling the KLF. As the ceremony reached its climax at midnight on the longest day, it was still light. The priest encouraged the guests to direct their psychic energy towards the wicker man, chanting 'Burn Burn Burn' and the idol burst into flames with many explosions!!! What lay ahead was 'enlightenment ... or madness'. After the ceremony was over the guests were treated to a huge party. The next day is unrecorded but judging by the statement it involved savouring the undervalued qualities of waiting. However they spent the time, by Sunday 23rd of June, the KLF had transported the guests to the Liverpool Festival of Comedy, where, hooded, they joined them on stage for an accapella rendition of Justified And Ancient as Bill and Jimmy handed out icecreams.
The event was filmed by Bill Butt, as were all the KLF's public appearances, and edited for promotional use only.
The second track is something different all together. styled like an aural equivalent of 'apocalypse now' there is a vocal narrative (it has to be assumed that its bill acting as martin sheen) describing an invitation to meet the mysterious klf and the resultant journey into psyche madness. following a typical klf opening the listener is taken on a voyage through more of bill drummonds and jimi cautys' sample library, revisiting vocals from '1987 - what the f*ck ..' adding foghorns, rumbling bass tones, this is an epic atmospheric final calling card that truly should have been released to the masses abject rejection. the dialogue by 'martin sheen' is excellent, and funny, with subtle references into all the fun and games and the various differences between the justified ancients of mu mu and the subsequent klf moniker. with the grand finale of children choirs, horror soundtrack chords, and burning fires brings the story to its natural close.
Kopyright Liberation Front (KLF) - Waiting For The Rites Of Mu (90/97 444mb)
01 - Waiting (42:40)
02 - The Rites Of Mu (29:21)
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Illuminatus !
Drummond and Cauty made heavy references to Discordianism, a modern chaos-based religion originally described by Malaclypse the Younger in Principia Discordia, but popularised by Robert Shea and Robert Anton Wilson in the Illuminatus! books, written between 1969 and 1971. The attitude and tactics of Drummond and Cauty's partnership matched that of the fictional cult whose name they had adopted. Throughout the partnership, these tactics were often interpreted by media commentators as "pranks" or "publicity stunts". However, according to Drummond, "That's just the way it was interpreted. We've always loathed the word scam. I know no-one's ever going to believe us, but we never felt we went out and did things to get reactions. Everything we've done has just been on a gut level instinct." In addition to resembling the fictional JAMs attitudinally and tactically, references to themes of Discordianism and Illuminatus! also manifested Drummond and Cauty's musical, visual and written work, meticulously and often covertly.
The JAMs' debut single "All You Need Is Love" includes the words "Immanentize the Eschaton!", in reference to the opening line of Illuminatus!, "They immanentized the Eschaton", interpreted as "they brought about the end of the world" or "they brought heaven to Earth". The refrain "All bound for Mu Mu land", from The KLF's "Justified & Ancient (Stand by The JAMs)" is a reference to the Lost Continent of Mu, which Shea and Wilson identify with the fictional land Lemuria in Illuminatus!.
The number 23, significant within numerology, is a theme of Illuminatus!, where instances of the number are both overtly and surreptitiously placed. Similarly, an abundance of such occurrences were deposited throughout Drummond and Cauty's collective output, for example:
--In lyrics to the song "Next" from the album 1987: "23 years is a mighty long time".
--In periods of time: for instance, they reportedly signed a contract preventing either of them from publicly discussing the burning of a million pounds for a period of 23 years, their 1997 return as 2K was "for 23 minutes only".
--In numbering schemes: for instance, the debut single "All You Need Is Love" took the catalogue number JAMS 23, while the final KLF Communications Information Sheet was numbered 23; and Cauty's Ford Galaxie police car had on its roof the identification mark 23.
--In significant dates during their work: for instance, a rare public appearance by The KLF, at the Liverpool Festival of Comedy, was on 23 June 1991; they announced the winner of the K Foundation award on 23 November 1993, and they burned one million pounds on 23 August 1994.
The "Pyramid Blaster" is a logo and icon frequently and prominently depicted within the duo's collective work: a pyramid, in front of which is suspended a ghetto blaster displaying the word "Justified". This references the All-Seeing Eye icon, often depicted as an eye within a triangle or pyramid, a significant symbol of Illuminatus!.
The Illuminatus! Trilogy is included as PDF in the above posts
Its a huge cult sex-drugs-occult-paranoid conspiracy theory-science fiction book, where reality shifts and nothing is as it
seems. Or is that what I want you to believe? It was first published in the mid seventies, written by Robert Anton Wilson
and Bob Shea, originally as three separate novels: 'The Eye In The Pyramid', 'The Golden Apple', and 'Leviathan', but now available as a collected edition
The Illuminatus! Trilogy,
'Illuminatus!' tells the tale of the international conspiracy the Illuminati, who attempt to order and control mankind, and
receive individual power (become illuminated) by causing mass deaths. Their arch enemies The Justified Ancients of
Mummu (The JAMs), are "an organisation (or disorganisation) who are at least as old as the Illuminati and represent the
primeval power of Chaos". Along with affiliated groups the LDD and the ELF (Erisian Liberation Front), the JAMs are
engaged in a secret war to prevent the Illuminati from 'immanentizing the eschaton' (bringing closer the end of the
world).
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The Setting 
