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| The Black Room | ||||
|---|---|---|---|---|
| Studio album by | ||||
| Released | Unreleased | |||
| Recorded | 1990–1992 | |||
| Genre | ||||
| Label | KLF Communications | |||
| The KLF chronology | ||||
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The Black Room is a never-completed album by the Justified Ancients of Mu Mu (Bill Drummond and Jimmy Cauty), intended to be the follow-up to their KLF album The White Room .
The Black Room was referred to in interviews even before The White Room was released. [1] [2] Originally it was planned to be hardcore techno (in the style of and featuring the original version of "It's Grim Up North" [2] [3] ), then electro-metal (like "America: What Time Is Love?") and finally it was to be a thrash-metal collaboration with Extreme Noise Terror. It is unknown how much of each incarnation was complete before it was scrapped and recording was restarted.
Jimmy Cauty said of it in December 1990: "The 'Black Room' album will all be this kind of electro turbo metal. It's not really industrial like, say, Throbbing Gristle, because it's coming from house and has an uplifting vibe about it. But it's so heavy it will just pin you to the floor." [4] Bill Drummond said of it in 1991: "It's the complete yang to the yin of The White Room. It'll be very very dense, very very hardcore. No sort of 'up' choruses or anthems. I think it's going to be techno-metal, I think that's gonna be the sound. Techno-metal. Which'll be... a cross between techno and heavy metal. Megadeth with drum machines." [5]
The Black Room was scheduled for release by KLF Communications for the end of 1991, which was put back to March 1992.[ citation needed ] At some point, grindcore band Extreme Noise Terror (ENT) were employed, and the two bands were still recording in February 1992 when The KLF scrapped the sessions. "What actually happened," said ENT singer Dean, "was that Bill heard us on [John] Peel when he was in the bath and got in touch. They had wanted to do rock versions of their songs with Motörhead but something fell through, so he rang us... The message said it's Bill from The KLF, but I thought they said 'the ALF' so I didn't take much notice... Later, we got another message saying it was definitely Bill from The KLF and I said 'fuck off! What does he want with us?' But it all got explained eventually." Asked how they found working with "the pop genius of the age", the band agreed on a party line: "Just say that he's mad, barking bleedin' mad..." [6]
Mark Stent, the engineer/producer for these sessions, thought the music was pure genius. "The most awesome track for me was one called 'The Black Room and Terminator 10' which was like a very slow tempo thrash. It was mad. It was brilliant, absolutely brilliant, and it would have shown a lot of people up because it was as ballsy as hell. Guitars screaming all over the place, Bill doing his vocals and Dean (of ENT) doing his. There was such a raw power to it. It was so different from anything anyone else had ever heard. This was really heavy." [7]
One track was released from this collaboration, a metal version of "3 a.m. Eternal". The two bands also performed together at the 1992 Brit Awards ceremony, a performance which NME listed at number 4 in their "top 100 rock moments". However, the rest of the album was never completed and remains unreleased. [8]
In Bad Wisdom, Drummond writes:
Z asks about the Black Room album that me and Jimmy as The Justified Ancients of Mu Mu started but were too afraid to complete. I tell him how, when I was standing in the twilight of the recording booth, the microphone in front of me, Jimmy's magnificent metal guitar riffs roaring in my headphones, a voice came out of me which I had never heard before, words flowed that I had never written and a precipice appeared before me. I crept forward and looked over the edge: the abyss. The Justified Ancients of Mu Mu's LP, The Black Room, was never finished. But Z keeps talking and I'm warming to his persuasions. He feels that Jimmy and I are evading our responsibilities; we should return to our war-horse and complete the task. And yes, right now I believe Z may be right. But maybe Jimmy and I should wait until we are both over fifty before we record the sound of us as battle-scarred veterans of a hundred mercenary campaigns, when the music would not be drawn from our fading libidos but from the horror of life spent confronting that abyss – kinda like Milton backed up by Megadeth. [9]
Instrumental outtakes purportedly from the February 1992 Black Room sessions circulate. However, they have been impossible to verify since they are guitar parts only and feature none of Drummond's vocals. Asked if the sessions would ever be released, Cauty said "There is a bootleg flying around. I haven't heard it. I thought I had the only copy, but I guess there might have been another one made." [10]
K Foundation Burn a Million Quid was a work of performance art executed and filmed on 23 August 1994 in which the K Foundation, an art duo consisting of Bill Drummond and Jimmy Cauty, burned £1 million in the back of a disused boathouse on the Ardfin Estate on the Scottish island of Jura. The money represented the bulk of the K Foundation's funds that had been previously earned by Drummond and Cauty as the KLF.
William Ernest Drummond is a Scottish artist, musician, writer, and record producer. He was a co-founder of the late-1980s avant-garde pop group the KLF and its 1990s media-manipulating successor, the K Foundation, with which he famously burned £1 million in 1994.
James Francis Cauty, also known as Rockman Rock, is an English artist and musician, best known as one-half of the duo the KLF, co-founder of the Orb and as the man who burnt £1 million.
The K Foundation was an art foundation set up by Jimmy Cauty and Bill Drummond, formerly of The KLF, in 1993, following their 'retirement' from the music industry. The Foundation served as an artistic outlet for the duo's post-retirement KLF income. Between 1993 and 1995, they spent this money in a number of ways, including on a series of Situationist-inspired press adverts and extravagant subversions in the art world, focusing in particular on the Turner Prize. Most notoriously, when their plans to use banknotes as part of a work of art fell through, they burned a million pounds in cash.
"It's Grim Up North" is a song by The Justified Ancients of Mu Mu. The song was originally released as a limited edition "Club Mix" in December 1990 with Pete Wylie on vocals. A re-recorded version with Bill Drummond on vocals was released commercially in October 1991. These recordings were the first releases by Drummond and his creative partner Jimmy Cauty under the JAMs moniker since the 1988 compilation album Shag Times, and the last under that name; in the meantime they had operated as the Timelords and the KLF. The 1991 single release reached No. 10 on the UK Singles Chart and entered the top 10 in Denmark and Finland.
This discography lists the key British and notable international releases of The KLF and the other pseudonyms of Bill Drummond and Jimmy Cauty. It also details the other releases on their independent record label, KLF Communications, by KLF-spinoff Disco 2000 and Space. In the United Kingdom—their home country—Drummond and Cauty released six albums and a wide array of 12 " singles on KLF Communications. In other territories their material was typically issued under licence by local labels.
Disco 2000 was a British pop band, a side project of The KLF. Vocals were handled by Cress, then-wife of KLF co-founder Jimmy Cauty, and "Mo". Between 1987 and 1989, Disco 2000 released three singles on the KLF Communications label, none of which entered the top 75 of the UK Singles Chart.
1987 is the debut studio album by British electronic band The Justified Ancients of Mu Mu, later known as the KLF. 1987 was produced using extensive unauthorised samples that plagiarised a wide range of musical works, continuing a theme begun in the JAMs' debut single "All You Need Is Love". These samples provided a deliberately provocative backdrop for beatbox rhythms and cryptic, political raps.
Who Killed The JAMs? is the second studio album by The Justified Ancients of Mu Mu, and the final one under the JAMs moniker before renaming themselves The KLF. Similar in style to the preceding 1987 , the album is a fusion of hip hop, drum machines and samples of a diversity of musical works, although in general the samples are more covertly integrated here than they are in 1987.
"Last Train to Trancentral" is a song released, in different mixes, as a series of singles by British electronic band The KLF, including "Last Train to Trancentral ". A commercially successful single of April 1991, it reached number two on the UK Singles Chart, number one on the UK Dance Singles Chart and achieved international top ten placings. It is a central song within The KLF's work, and is distinctive for an uplifting string-synthesiser break.
"Justified & Ancient" is a song by British band the KLF. It was featured on their 1991 album, The White Room, but its origins date back to the duo's debut album, 1987 .
Shag Times is a UK compilation and remix double album released in 1989 by The Justified Ancients of Mu Mu. The album also introduced Bill Drummond and Jimmy Cauty's new incarnation – and one which would become considerably more famous – The KLF.
"Doctorin' the Tardis" is a novelty single by the Timelords. The song is predominantly a mash-up of the Doctor Who theme music and Gary Glitter's "Rock and Roll" with sections from "Block Buster!" by The Sweet. The single was not well received by critics but was a commercial success, hitting number one on the UK and New Zealand singles charts, and reaching the top 10 in Australia, Finland, Ireland and Norway.
"All You Need Is Love" is a song by the Justified Ancients of Mu Mu, independently released as their debut single on 9 March 1987. A politically topical song concerning the British media's AIDS furore, the track was initially given a 12" white label release because of its sampling of other records.
"Whitney Joins the JAMs" is a song and 1987 single by the Justified Ancients of Mu Mu. The song, released on the JAMs' independent label KLF Communications, is built around plagiarised samples of Whitney Houston in which—thanks to studio technology—she "joins the JAMs".
The KLF are a British electronic band who originated in Liverpool and London in the late 1980s. Scottish musician Bill Drummond and English musician Jimmy Cauty began by releasing hip hop-inspired and sample-heavy records as the JAMs. As the Timelords, they recorded the British number-one single "Doctorin' the Tardis", and documented the process of making a hit record in a book The Manual . As the KLF, Drummond and Cauty pioneered stadium house and, with their 1990 LP Chill Out, the ambient house genre. The KLF released a series of international hits on their own KLF Communications record label and became the biggest selling singles act in the world in 1991.
"Fuck the Millennium", sometimes spelled "***k the Millennium", is a protest song by the band 2K—Bill Drummond and Jimmy Cauty—better known as the Justified Ancients of Mu Mu or the KLF. The song was inspired musically by Jeremy Deller's "Acid Brass" project, where a traditional brass band plays acid house classics; these include the KLF's "What Time Is Love?". They were also inspired topically by the then-forthcoming end of the second millennium and the plans to celebrate it.
2023: A Trilogy is a book by Jimmy Cauty and Bill Drummond writing as The Justified Ancients of Mu Mu. The book was published in 2017, 23 years after the duo had burnt one million British pounds they earned in the music industry as The KLF.
Welcome to the Dark Ages was a three-day event organised by The Justified Ancients of Mu Mu, held in Liverpool in August 2017. The event heralded a revival of the creative partnership between Jimmy Cauty and Bill Drummond, under the name with which they first recorded and released music together in 1987. The duo had last worked together in 1997, when, as 2K, they staged an art performance and released a single, "Fuck the Millennium", and, as K2 Plant Hire Ltd, hatched a plan to build a "People's Pyramid" to celebrate the new millennium.
