From: Chris <mute@tpg.com.au>
To: All bound for Mu-Mu Land. <klf@mailman.xmission.com>
Sent: Thu, 25 August, 2011 3:15:56
Subject: Re: [KLF] Are the FLK too slim to be the KLF?
"Yeah, but that was 20 years ago. They made their statement and it's stood
the test of time. Would love a catalog reissue."
This is a huge internal contradiction.
> If they truly want to move forward with other endeavors unimpeaded by KLF
> fans and lingering questions they should just agree to one last Q&A, no
They're already unimpeded. They have 20 years of work that no-one's stopped
them from putting out.
> holds barred, state they deleted their catalog for a reason and interested
> parties should track down the catalog on their themselves BUT release all
> of these things people pester them about for free online as FLAC files for
Again, this is contradictory. And no-one's pestering them about this stuff
- they're not on this list full of gigantic spods, they're dealing with
galleries and arts funding bodies who barely know the records they actually
had hits with, let alone about records they never actually made or demos that
at best exist on a third-generation cassette.
> 23 days only: The Black Room (either unfinished or mixed by Stent--sure he
> would do it for free),
You've heard it unfinished. It's been around in that form - ie some shitty
tapes that sound like a band jamming in a garage, because that's what they
are - for 20 years and still is, online. How would it be different to upload
it to yet another site or server?
And why in flying fuck would Mark Stent take, say, two weeks off of mixing
enormous major-label pop records for thousands and thousands of pounds - let
alone six months to "finish" it - for free? Would you take six months off
your job to go and do the same thing for free, at the whim of three to five
angry nerds on the internet? Who are angry about something from TWO DECADES AGO?
> Turn Up The Strobe, Love Trance, Sheriff of Mu Mu
> County, etc. If nothing else they could give them to PVC and he'll get the
> tracks to the true believers and use the proceeds to fund his spin, buy
> cheap beer for drunks, whatever.
> Bottomline is, if they want to put the past behind them they should just
> clear the decks. Nature abhores a vacuum and they left a big one the way
> they went out.
They can't release songs that DON'T ACTUALLY EXIST. These records didn't
come out because their authors WEREN'T HAPPY WITH and DIDN'T FINISH THEM.
They're not being hidden from you in some cruel conspiracy - bands abandon
songs or versions of recordings or even entire albums that aren't working out
*all the time*. It's part of the writing process.
They did clear the decks: they deleted all of the great, finished records
that they had control over, that weren't already out of print (hint: the
majority of their catalogue was already out of print at the time. This is
what happens with singles and any record printed in limited capacities.)
"Not anger, more mystification. They want to have it both ways. They went out
with this big mysterious, well, I don't know what to call it;
self-destructive incomplete sentence but they somehow expect their fanbase to
not question it, move-on and lap-up whatever unrelated projects they decide
to put out."
No. They specifically DON'T expect "their fanbase" to lap up whatever
unrelated projects they put out. Jimmy's not selling editions of 13 prints in
single galleries in the south of England because he wants 1,000,000 people
who bought Justified & Ancient in 1991 to book flights there and buy one.
Bill's not making soup for a family of five in the Hebrides because he....
jesus, is there any point in even typing this? Your attitude is just
completely delusional, and I don't know if basic maths is going to be accepted.
They don't give a shit, at all, about whether KLF fans engage with their
new works. I'm sure they don't mind if people who liked that work also like
this work, but none of it is *directed* at KLF fans or marketed to them in
any way. (FTR: I've liked some of Jimmy's work, thought lots of it is
pissweak, and am not in the market for posters of the Queen in a gasmask; I
buy Bill's books because he's a really great writer, but never finished The
Wild Highway, through no fault of Drummond's.)
"There's nothing wrong with an artist wanting to move on and try new things,
but people crave closure and an artist really needs to provide it if they
want their new material be be accepted on its own terms. At least when
Curtis, Lennon, Cobain et al died there was closure and greedy relatives to
mine the archives and give the fans the remainder of their material."
This is just gross, really. Your sense of entitlement is weird and creepy,
and the best example of why Jimmy would be put off ever having opened up the
archives.
The closure is THEY PUT OUT SOME RECORDS ONCE. Then they stopped putting
out records. If you bought those records and liked them, or heard them on the
radio and liked them, THEY DON'T OWE YOU ANYTHING ELSE.
This is like me following you around, wheedling that you ought to rewrite
your third geography essay from second term 1989, over and over, because you
said you'd forgotten to mention Bolivian agriculture when you handed it in,
so now I deserve to get to read that, because you thought about it once. And
you should still have your rough notes, and should give me those too, so I
can put them on the internet for everyone else to read.
(Or that you should go back to doing the company accounts in a ruled
ledger, so that I can put a pile of ledgers in my cupboard and not look at
them, but know they're there, instead of you managing an office of twenty
people and being able to afford to put your eldest through uni. Whatever.
Feel free to offer biographical details for both periods so we can tailor
this analogy - you really do owe it to the list. We need closure.)
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