23 Seconds to Eternity – The New KLF Video Collection DVD

It’s a special day at Innerspace Labs. Just arrived is The KLF’s new 23 Seconds to Eternity (Dual Format Edition) DVD/Blu-ray collection. One of the most successful, subversively creative and enigmatic electronic bands of the early 90s, this is the first-ever official compilation of The KLF’s films.

News of the collection was published August 23, 2023 when The British Library acquired The Acetate, the only physical copy of a new, reconstructed version of the Justified Ancients of Mu Mu’s debut album 1987 (What the F**k Is Going On?). TBL announced that, “for one week only, the recording would be available for everyone to listen to in our free Sound Gallery, starting from 11:23 on 23 August 2023, and from 30 August 2023, the album will be accessible within the Library’s Reading Rooms in perpetuity for research, inspiration and enjoyment. The Acetate is the only physical copy of 1987 (What the F**k Was Going On?), officially credited to The Ice Kream Van (unpublished by KLF Communications, London 2023).” TBL also noted that “The Acetate and all surviving KLF Communications master tapes donated by K2 Plant Hire Ltd will be archived as The KLF Kollection. All unpublished items will be catalogued under the collection number C2023.”

Two official statements were included in the announcement – 

The KLF have issued the following statement from the Ice Kream Van: “As a lifetime, card carrying and founding member of The KLF Re-Enactment Society, I felt it my duty to not only ‘re-enact’ The Justified Ancients of Mu Mu’s album 1987 (Blah, Blah, Blah?) but present it to the world in a way far superior than their original version…That said, I am very aware, even if they are not aware that I am aware, that my aging Ice Kream Men, have ‘pirated’ a copy of my re-enactment’ and have had an acetate cut of it and have ‘donated’ their pirated copy to the British Library for those that visit such places. Yours forever… The Ice Kream Van.”

Karoline Engelhardt, Curator of Popular Music Recordings at the British Library, said: “This is a very special year in the history of the British Library as it marks our 50th anniversary. The Sound Archive became part of the British Library only a decade later and, from the beginning, its mission was to preserve the nation’s sound heritage in all its creative facets. The KLF Kollection is another exciting piece of popular music history that will now be available to explore at the British Library for generations to come.”

This was thrilling news for fans the world over, but there was more excitement in store with the announcement of the DVD/Blu-ray set. The KLF produced some of the most original videos and short films of their era and fans can now enjoy them all in 23 Seconds To Eternity, released on limited-edition BFI Blu-ray and DVD (Dual Format Edition) on 6 November. The BFI will also be screening the collected films and videos on the big screen when BFI Southbank presents a special release day launch screening followed by a Q&A with producer/director Bill Butt on 6 November. Further UK cinema screenings are to be announced. This release is the first ever compilation of KLF Communication’s films and includes previously unreleased material along with an illustrated booklet.

BFI’s Shop page for the release offers the following details:

Produced and directed by Bill Butt in collaboration with Jimmy Cauty and Bill Drummond in their various guises as The JAMs, The KLF and The Timelords, 23 Seconds to Eternity takes viewers on a film journey through the collected music videos and short features including The White Room (1989), The Rites of Mu (1991), narrated by Martin Sheen and the previously unreleased Krash (1992). Also included are the world famous music videos for the hit singles 3 A.M. Eternal, What Time is Love? and Justified & Ancient.

This release is the first ever compilation of KLF Communication’s films and this release will feature an array of special features and an illustrated booklet featuring rare and previously unseen material.

And from the BFI announcement article:

23 Seconds to Eternity includes the film The White Room (1989), an ‘ambient road movie’ following American police car Ford Timelord and Jimmy Cauty (Rockman Rock) and Bill Drummond (King Boy D) on a journey cross-country in search of the ‘White Room’. Remastered and regraded from the only existing film print, The White Room features a new soundtrack specially recorded for this Blu-ray/DVD release. 23 Seconds to Eternity also features a newly restored version of The Rites of Mu (1991), a 29-minute feature narrated by Martin Sheen, documenting a summer solstice event organised by The KLF on the Scottish island of Jura in 1991, plus the previously unreleased short Krash (1992), edited in 2022, a record of the final and violent destruction of Ford Timelord. The soundtrack to Krash is a track from The Black Room, the unreleased album by the Justified Ancients of Mu Mu. 

The DVD set comprises the following:

23 Seconds to Eternity running order and special features

• Doctorin’ the Tardis (1988)
• The White Room (1989) (44 mins, 45 seconds) 
• Kylie Said to Jason (1989)
• Stadium House Trilogy (1991)
• Rites of Mu, Martin Sheen narration (1991) (29 mins 21 Seconds) newly restored
• It’s Grim Up North (1991)
• America: What Time Is Love? (1992)
• Justified & Ancient (1991)
• KRASH (1992) (4 mins, 23 seconds) previously unreleased

Confirmed extras/booklet copy to include: 

• KLF: Unfinished (1992, 30 mins): making of documentary including optional commentary by director Robert Milton Wallace
• Interview with Bill Butt by Mick Houghton (2023): the producer and director discusses the making of 23 Seconds to Eternity
• This Is Not What The KLF Is About (1991, 15 mins): a short film shot and edited by Jimmy Cauty capturing the making of Stadium House Trilogy, newly remastered by Rich Osborn
• 23 Seconds to Eternity theatrical trailer (2023, 2 mins)
• KRASH trailer (1 min)
• The White Room trailer (1 min)
• Stills gallery
• Limited edition includes an illustrated booklet with new writing by Mick Houghton and the BFI’s William Fowler, Bill Butt’s filmography, an introduction to The White Room, and rare images from the personal collections of Bill Butt and Mick Houghton

This is an incredibly exciting archival release for fans and an essential addition to any KLF collection.

Brian Eno Collection Milestone

Today I’ve proudly reached a milestone with my Brian Eno collection. In addition to the dozens of art prints, books, lithographs, 85 digital releases, and other miscellanea I’ve acquired, I’ve now successfully built a sizable library of most major releases issued in the vinyl format by the artist. 

While there are still a number of bootlegs and collaborative efforts, as well as titles from Eno’s catalog originally issued in the 90s now being released for the first time on vinyl, my library comprises 40 of his best-loved works totaling 64 discs of content, including the highly sought-after Music For Installations 9LP limited edition box set.

This feature will showcase the most noteworthy elements of my collection to date. I’ll begin with the LPs, themselves. It was quite a challenge to photograph 40 12” multi-disc releases all in one shot, particularly without photographer’s lamps and other equipment, but I’ve done my best using the trusty digital SLR I received from my family when I first started art college twenty-two years ago.

Here are the LPs:

Next, for some art, here is the “Electric Love Blueprint – A History of Electronic Music” theremin schematic created by the Dorothy design collective. The infographic “celebrates over 200 inventors, innovators, artists, composers and musicians who (in our opinion) have been pivotal to the evolution of electronic music, from the invention of the earliest known sound recording device in 1857 to the present day.” Of course, Brian Eno’s name appears typeset in the largest point size of any pioneer cited among the layout.

The 60 x 80 cm art print is printed with metallic silver ink on 120gsm Keaykolour Royal Blue uncoated stock. It was gifted to me by a dear friend and hangs proudly in my listening room.

Next is a limited edition oversized promotional art print for Eno’s 77 Million Paintings exhibition at Moogfest in 2011.

And just for fun, I had a t-shirt printed up with the art from one of the most influential early Eno solo albums, Before and After Science.

I also made sure to track down an original UK pressing of that very album specifically for the large lithographs exclusive to that edition painted by Peter Schmidt. I had the lithographs professionally framed for my dining room.

I also secured both original and remastered pressings of Apollo: Atmospheres & Soundtracks. The Extended Edition includes the For All Mankind bonus LP and I was among the first 250 to order which got me a handsome 42cm x 59cm poster of the Apollo cover artwork which I had framed as well.

I was similarly inspired by Eno’s pioneering ambient effort, Music For Airports, so I prepared a framed print of the sheet music of the album’s score.

Then there is the DVD collecting Eno’s experiments with film, Thursday Afternoon (1984) and Mistaken Memories of Mediaeval Manhattan (1981)

I’ve previously shared my excitement when I learned that Eno had collaborated with one of my other musical heroes, Karl Hyde of Underworld. I framed the pair of postcards included with their two album releases.

There was also an art print included with original pressings of Eno and Hyde’s first collaboration, Someday World, which I’ve framed in my listening room.

And while working as a designer, I independently produced a 24” x 24” oversized PVC-mounted vinyl print of a graphic I designed mapping a chronology of all of Eno’s creative works both as an artist and as a producer. Here is a web-friendly downscaled copy of the artwork with a magnified sample of an area of text.

Of course, what Eno collection would be complete without an edition of the Oblique Strategies oracle deck? 

And finally, here is my library of thirteen books examining the mind and the art of Brian Eno. It was great fun compiling them all, including a copy of Eno’s own diary, A Year With Swollen Appendices.

That is the collection to date. I know that it is far from complete. My research reveals an additional 14 vinyl releases far more rare than anything I have and nearly 2,600 releases with Eno named in the credits, but I made sure to collect all of the titles which were of great significance to me, personally. 

Thank you for permitting me to share my love for great music. Eno and his work are an unparalleled inspiration in my life.

Transitioning the Seasons with Spirit of Eden

I’m admittedly a latecomer to this seminal and influential work, but it’s better late than never. And it’s thrilling to know that despite my exhaustive hours of daily music surveys and research that there are still reflective, beautiful gems still waiting to be discovered.

And so it is with Talk Talk’s 1988 LP, Spirit of Eden. The album is critically-lauded as a progenitor of the genre which would come to define the decade that followed. Wikipedia’s article on Talk Talk’s co-founder and songwriter, the late Mark Hollis calls attention to the fact that, “While they were commercial failures in their own time, these albums have come to be seen as early landmarks of post-rock music.“

Two quotes from Hollis resonated deeply with my own philosophies of music and composition. In an interview with Danish TV, 22nd February 1998, Hollis said:

“Before you play two notes, learn how to play one note. And don’t play one note unless you’ve got a reason to play it.” 

And in an interview with BBC Radio 1’s Richard Skinner around the release of their next album, Laughing Stock, Hollis adds:

“The silence is above everything, and I would rather hear one note than I would two, and I would rather hear silence than I would one note.”

Wikipedia’s entry for Spirit of Eden offers some insight into the album’s composition:

The album was compiled from a lengthy recording process at London’s Wessex Studios between 1987 and 1988. Often working in darkness, the band recorded many hours of improvised performances that drew on elements of jazz, ambient, blues, classical music, and dub.

But it was the praise-filled Pitchfork article on the album which inspired my first-listen, where the album was rated a perfect 10/10 score. The lengthy article offers a much-deserved contextual examination of the album and a few key remarks caught my attention:

In interviews, he would point to Miles Davis and Gil Evans’ orchestral jazz masterpiece Sketches of Spain, or the zen experiments of John Cage, or Vittorio De Sica’s avant-garde film The Bicycle Thieves as touchpoints for his inspiration. 

…

The thrill of this music is the same thrill of listening to some of the great works of jazz, classical, and pop: the soul of Miles Davis’ In a Silent Way, the obtuse landscapes of Morton Feldman, the production and patience of Brian Eno. Today, this coming together of spirit and sound still feels like a radical and mysterious feat of popular music.

This was unequivocally an album I needed to hear.

And The Guardian described the album as a blend of “pastoral jazz, contemporary classical, folk, prog rock and loose blues into a single, doggedly uncommercial musical tapestry” which would be labeled “post-rock.”

Whatever label one elects to apply, this is an exquisite specimen of sound-art, and warrants repeated listenings on reflective winter evenings such as this.

And a dear friend and ambient composer offered an insightful remark on the album, saying, “What especially impresses me is how fluid and organic it is in evading any traditional sense of ‘rock music’ at all — and this is especially apparent in much of the soft dynamics. Any sense of music at all is almost not there, as if the music is on the verge of dissipating into silence.”

RateYourMusic files the album under the categories of jazz-rock, chamber jazz, art rock, and chamber music, and its user-base charts the album as #2 for its original release year, hot on the heels of Sonic Youth’s Daydream Nation. And the site offers no shortage of poetic descriptors of Hollis’ style, calling it “atmospheric, passionate, peaceful, religious, introspective, meditative, lush, soothing, spiritual, bittersweet, lonely, sparse, sentimental, pastoral, soft, ethereal, melancholic, progressive, calm, uplifting, and hypnotic.”

Hypnotic indeed. I immediately tracked down a copy of the UK-issued 180g 2012 remastered edition with a companion 96kHz/24bit stereo DVD. It’s the perfect soundtrack to usher in the spring.

Perpetual Dawn: The Orb Has Arrived at Last!

It was Pledgemusic’s announcement which first alerted me to the monumental event which was pending in the summer of 2016. The Pledgemusic website reported that:

“On Friday 29th July 2016, electronic titans The Orb will perform their seminal debut album ‘Adventures Beyond The Ultraworld’ in full for the first time ever, to mark its 25th anniversary.

For this very special sliver jubilee gig, Alex Paterson and Thomas Fehlmann will be joined on stage by the original cast of collaborators who helped create the magic on this influential, era-defining milestone, plus a special punk icon whose music heavily influenced The Orb.

Paul Cook of Sex Pistols fame will guest on drums and fellow punk legend, original Orb member and ‘Little Fluffy Clouds’ co-writer Youth will join on bass.

Psychedelic-electronic-prog heroes Steve Hillage and partner Miquette Giraudy co-wrote ‘Supernova’ and ‘Backside Of The Moon’, and will also bring their mythical shamanistic magic to this special show.

If all that wasn’t coup enough fellow ‘Ultraworld’ contributors Andy Falconer, Tom Green and Hugh Vickers will also guest, whilst original Orb lighting wizard David Herman will transform Electric Brixton into a vintage fractal technical wonderland.

Amidst the late 80s fervor of acid house The Orb explored their own meandering tangent, drawing on hip hop sample culture, krautrock, kosmische, ambience and a wealth of unusual and unlikely sound sources. In doing so they pioneered a more horizontally-inclined alternative to the jacking trax emanating from discerning nightclubs’ main rooms.

Following a limited number of prototype 12”s from early pre-Orb incarnations, ‘Ultraworld’ was The Orb’s first fully formed, double album realization of the sonic sculpture they’d been finessing, amidst a punk-schooled period of fertile, no-rules creativity.

The album was a critical and chart smash that soundtracked a generation. It still sounds amazing today and its influence on subsequent decades of dance music is immeasurable.”

It had already been a thrilling year – The Avalanches reissued their album, Since I Left You in the UK and Europe to the delight of fans the world over, the Ann Arbor label, Ghostly International reissued Telefon Tel Aviv’s ambient glitch epic Fahrenheit Fair Enough on sky blue wax, John Carpenter issued the second volume of his Lost Themes collection, electronic music veterans, Underworld released Barbara Barbara, We Face a Shining Future to great critical acclaim, proving they still have every ounce of their musical prowess, Klaus Schulze and the late Pete Namlook released a box set of the first four volumes of their ambient Dark Side of the Moog series, and Brian Eno outdid himself for the hundredth time with the ethereal and meditative album, The Ship which had the astonishing ability to stop time with each play.

But it was the anticipation of this reunion of the icons of ambient house which captivated me for the remainder of the year. Sadly, there were delays with the production of the vinyl release. Many, many months passed with infrequent updates from the Live Here Now team. Eventually, the 3CD+DVD edition arrived in the States, but it was the triple blue vinyl edition I was really waiting to get my hand on. Thankfully, today – May 12, 2017 the long-awaited package arrived from the UK.

The Orb’s Further Adventures Live 2016 was available exclusively from PledgeMusic or at The Orb show at the Royal Festival Hall in London on the 21st of April 2017. The CD edition also features interviews with Alex, Thomas, Youth, Paul Cook, Steve Hillage & Miquette Giraudy, all of whom participated in the event.

The 180g bright blue discs are housed in a heavy triple-gatefold jacket matching that of the CD+DVD release. The packaging and albums are of excellent quality all throughout, making this set well worth the wait.

This is a wonderful treasure for any fan of The Orb, of chillout music, and for anyone who spent their college days on the backside of the moon. An exciting performance, expertly captured and mastered, documenting a real milestone event for all those involved.

If you buy only one tripped-out exclusive dub-inspired space music anniversary concert album reuniting a generation of the gods of ambient house this century… make it this one.

Is anyone else getting rid of their physical media altogether?

Now that I’ve purchased my first home, it seems a great time to shed some dead weight from my material possessions. My top 3000 LPs will stay – I’ve got them neatly shelved and organized in my office. I enjoy the ritual of interacting with the medium and nothing beats gatefold artwork. But everything else – cassettes, VHS, CDs, and DVDs, all seemed pointless to keep anymore.

Today I boxed up hundreds of CDs and traded them at a local Disc Exchange for 25 cents each. The cash I made was well worth the space it freed up on my bookshelves for music literature. (Most of the reference texts I enjoy I much prefer to read in a physical format than as an ebook.)

Of my ~750 CDs I kept only a handful from artists who really shaped my listening in the 90s. I kept several 20-bit remasters of classic jazz LPs and several debut singles like Reznor’s HALO 1 Down in It, Manson’s Get Your Gunn single and the Live at the Snakepit bootleg, and the 1989 Caroline Records debut single by White Zombie, Make Them Die Slowly. But other than a handful of cassette and CD promos, it really seemed time to let the rest go.

Honestly they will function more as interesting artifacts and conversation pieces rather than as a medium for audio/video playback.

I also spotted a large box of my fiance’s home-taped VHS tapes today. I offered to have her top 5 tapes converted to AVI and the rest we can dump.

Still, I confess – I’m keeping bargain bin VHS copies of cult classics including Santa Claus Conquers the Martians, YOG: Monster From Space, and the Pee-Wee Christmas Special… this is the shit I’m going to force my grandkids to watch someday.

So what about the rest of you digitally-savvy ladies and gents? Do you still hold onto physical media?