The White Room

Probably one of those instances of "you had to be there at the time to understand". That said, if really you need just *one* example of what a early nineties eurodance version of a rave party should sound like in this list of essential albums, *The White Room* is your best bet here--even if, more than eurodance, what we have here has layers of opportunistic cultural recycling that were actually very British, and so contrasting a lot with those other Italian or German cheesy dance acts around 1990. See the wealth of samples used here, with or without permission: so many winks to popular music of all stripes that it's easy to lose count, from that sample of MCS's "Kick Out The Jams" to this bassline nicked from the Twin Peaks title theme on trip-hop-like "Build A Fire". Here is a concern for richness, invention and callbacks to music history that low-brow outfits such as Technotronic, 2Unlimited or Snap! would never reach for even one second of their equally short career. So if you stick to what is usually expected from that often maligned genre of popular dance music from thirty years ago, there's no denying that The KLF were masters of their game. Every track on the first side may have all the clichés of that UK Dance Club thing, sure, yet they are so effective that you may feel inclined to bob your head to them, as "dated" as some of those shenanigans are. "What Time Is Love" and "3AM Eternal" are the most striking examples of such an effective way to rob the charts in 1991 and yet still manage to win hearts in 2023 (in a genre that supposedly never ages well, i.e. EDM). Too bad that the version of "Last Train To Trancentral" on the same first side is a more subdued remix compared to the equally slapping single version--as good as this remix is. Had this single version, filled with an orgy of vocoder-laden vocal parts, been included on this side, you'd have a perfect first part for this record. What will probably go over the head of most listeners is that Bill Drummond and James Cauty were also very sly foxes as artists and "high concept" creators. They first wrote a book about how to hit the charts from the underground *before* managing to do so for real with the singles from this album. Quite a feat that they held their promises against all odds...but it's not even the most interesting part of the picture. See for example what they did with all the money they earned after they hit those charts--it might be a huge surprise for you, either a pleasant or an unpleasant one, depending on your mileage. But before they burnt all those piles of dough to the ground--yes, you read that correctly--they also managed to: - create many fake bands to broadcast their music. - instill a very "situationist" brand of irony to "dance" music that acts like Gang Of Four could only dream of when they injected funk basslines to their post-punk agenda ten years before. - Record a classic electronic "chill-out" LP named... well, *Chill Out*--which actually inspired a lot of melodies and arrangements in *The White Room*. - Erase the lines between high art and blatant commercialism, or the ones between "good taste" and "bad taste". That last point is the most prophetic of their endeavors, foretelling the success of many later acts going from Daft Punk and LCD Soundsystem to more recent strands of hyperpop such as Charli XCX, Sophie, 100 gecs or crazy pop-post-hardcore outfit The Armed. I have a feeling that this recent hyperpop craze, as weird and probably promised to failure as it is, is not so far from rehabilitating The KLF. Only time will tell. But if such rehabilitation happens, I reckon it's gonna happen very soon at least--before the wheel turns again, which is always sooner than later. All this is fine, but what really saves this album from all those tired tropes about music cycles and "turning wheels" is its far more ambient second side, with all its groovy, cinematic-yet-lvery-aidback cuts such as the title track or "No More Tears". Those songs are stellar, enough said. Subtly layered and subdued and sounding like nothing else, whether at the time or today. Concluding the proceedings, the mock-Las-Vegas-novelty cut "Justified and Ancient" returns to the layers of irony of the first side, but this time with an extra grain of salt. What if Drummond and Caulty were actually serious here? Us poor sheep will probably never know. All that"s left for us to do is to take that Trancentral Train to the promises of a future of dance music that never really occured--at least not in that exact shape--but one that could still occur yet, if you listen to this the right way. *The White Room* has always had a somewhat nostalgic feel to its rave party antics--a clearly melancholic subtext if you listen to its arrangements an flourishes--and such subtext made it age far better then many other supposed EDM highlights of the same day and age. Not so bad for a record whose sound is supposedly "dated", at least on first sight. 4/5 for the purposes of this list, translating to a 9/10 grade for more general purposes (5+4). Number of albums left to review: 419 Number of albums from the list I find relevant enough to be mandatory listens: 269 (including this one). Albums from the list might* include in mine later on: 142 Albums from the list I won't include in mine (many others are more essential to me): 176

Hard to get on streaming, but there's the odd serviceable playlist cobbling this together from the stuff they released back onto services a couple of years ago after a far too long absence. One of the most interesting stories of any band ever, surely. There is an absolutely essential John Higgs book about them and their influences (occult, dadaist, conspiracies - the story of how the popularised concept of the Illuminati as an all powerful shadowy organisation was essentially invented as a joke then took on a life of its own, is mad in itself). The fact they blew out of obscurity, topped the charts with apparent ease for a couple of years as a kind of joke/art project and then fucked off again, signing a pact to never use the name again and deleting all of their records. The music, I see plenty of baffled Americans here in the reviews. I guess you had to be there. It's commercial house. But at the time when it blew on the scene I just remember thinking, What Is That Noise And Where Can I Get More Of It? I still think last train, 4am eternal and what time is love are bangers. But the real star here is Justified Ancients. You must watch the video. An absolute classic tune. Just pure joy. Problem is I don't think the version I love is the one on the album. The single version is the one. Bring the beat back! That notwithstanding this is obviously getting a 5. These are two Scottish guys who convinced Tammy Wynette to appear on their record and sing the words "they're justified, and they're ancient, and they drive an ice cream van" on top of the pops.

File under : generic electronic boops

Since the point of this list is albums you must hear, not necessarily the *best* albums, I have to give this five stars. Because The KLF is definitely worth knowing about. The album itself consists of hunks of tripe interspersed with tidbits of sweet genius. But dig deeper into the KLF story and you won't be disappointed. And for that I'm giving this s entry 5 stars...5 flaming stars... let's burn this mofo up!

Did not enjoy, another British electronica album

Stray thoughts: -Excellent album cover -I am a big fan of their anti-music industry philosophy and the story of their appearance/retirement at the 1992 Brit Awards is fucking amazing. -Why on earth would you release a “Director’s Cut” of an album that removes the best known song from the album. -Unlike a lot of their contemporaries, whose albums go on for a million fucking years, The KLF keep “The White Room” nice and succinct with runtime of 44 minutes. It accomplishes what it set out to accomplish, doesn’t over stay it’s welcome…it’s fucking great.

So cheesy it made me lactose intolerant

There are some albums on this list that make me wonder how they justify their place on the list. The White Room is not one of them. Jimmy Cauty and Bill Drummond not only created a seminal album, but also an entire genre of music. This was one of the first pieces of performance art to crossover into mainstream music, through their clever use of pop hooks and twisting the commercialisation of music into something weird, something novel and fun, but also subversive and cool. Their use of samples, beats and synths all just works - it’s easy to dismiss it as ‘just another Brit electronica album’ but that misses the fact before the KLF they didn’t really exist as they do now - this broke the mould. The hairs on my neck still stand up when I hear the start of 3AM Eternal and What Time Is Love - powerful floor filling bangers that have stood the test of time. The KLF, also know as the Timelords, the Justified Ancients of MuMu - changed the face of music forever with one album. The White Room.

I remember the name of this band but am pretty unfamiliar with them. I can remember a line like "KLF, uh-huh uh-huh". Electronica, probably UK. Hey lol they *are* from the UK. It's... boring. It feels like a sample bank with 808 beats underneath - which is what it is of course, but that's just not something very interesting. Especially not in 2023. 2/5.

I owned this album back in the early 90s - had to buy it after hearing the Tammy Wynette remake, even though Tammy isn’t on the album as the remake came out after. Still, I remember liking the album and was expecting a lot of deja vu. Wrong. The Director’s Cut was an enormous disappointment - so much so that I was ready to give this a 3. Then a friend texted that he was going to listen to and rate the original CD that he still had a copy of. Turns out I also have the original CD available in ripped form thanks to the cloud. I listened to that and all was right with the world. It is a wonderful as I remember it!!! How terrible that the only version of this available on Apple Music is the far inferior one. Thank god I still have the original because it is terrific!

New album to me, so I streamed the director's cut from Amazon and thought, nope, this can't be right, and went to youtube and found the original album and fell in love--this is great house music and it's also, in places, kind of stupid--the lyrics remind at times of the songs I make up as I walk around the house, esp Justified and Ancient. Still, love it--this is a lot of fun and really grabbed my attention. Well done!

Put yourself in my shoes... head out for the city, start feeling not so good on the bus, the feeling worsens on the train, get to the station feeling like you're gonna die, start trying to vomit, fast breathing on the way home, moving gingerly all the while, get a Lyft back home, sleep off whatever happened to the best of your ability, then you remember having to listen to this album, you do and it sounds like heaven. Guess I'm never getting out of the white room.

Ever album on this project I think to myself "this is someone's favorite album". This is mine. Or at least my first favorite album of all time. This was the soundtrack of my senior year in high school and freshman year of college. It was acid house gone main stream and my gateway drug to early 90's warehouse raves in the Midwest US. I'm sure there are TONS of reviews on the cultural significance this album has, especially in the UK. (Watch the documentary on this band, Who Kiled the KLF, it's facinating) but I was so far removed from that and just listened to this on repeat. I literally busted out an old CD copy and found something to listen to it on.

This one is a classic, The KLF were kings at catchy and danceable electronica. It seems like their reputation nowadays is entirely based around their story rather than the music, which is disappointing to see because I think their music holds up, and they were insanely influential for the modern EDM scene. For Spotify users, they've released all the songs from this album on different compilations, searching The White Room should get you a playlist with the correct tracklist. Just cross-reference it with the original tracklist to ensure it's correct.

There is far more to be said about the KLF than there is about "this album" - mainly because what probably 80% of the reviewers on here have listened to hasn't been "the white room" as originally released. The KLF (sometimes backronymmed to Kopyright Liberation Front) "stole" - that is, flat out and unashamedly copied riffs, samples, beats, melodies and, well, you name it. The current streaming versions are without anything copied that they couldn't sort licencing for, and it is a weaker release for that. The KLF got to a height that few get to. Yes I will admit that a LOT of their success was overhyped by their very own publicity machinery. But they were by any objective measure incredibly successful. But they never really meant to be. They never expected anyone to take them seriously and were sort of like the excited dog that catches the car as a result of it. They're definitely worth reading up on, or if you have a chance to, watch Chris Atkins' documentary "Who Killed the KLF?".to get a snippet of their amoral, sociopathic energy. As one of the last of Gen X, I was a tad too young at the time to experience KLF for the raves, but I remember watching Doctorin' The Tardis being performed on stage, featuring a real life Gary Glitter. Glitter was sneaked in to the TOTP studios by Cauty and Drummond and the first the producers knew of his presence was when he was brought on stage live on air. Glitter had previously been banned from the studios - whoever would have thought it - and while I missed (thankfully) the reasons for the controversy as a child, I absolutely did not miss the controversy itself. Why do I mention Doctorin' The Tardis on a review of The White Room though? It's because with the KLF it is literally impossible to separate the art from the artists. The art is the artists and the artists are the art. The White Room does shitty, cynical things because the artists know that "the people" will react to them in sheer delight. The music is selected (stolen) and arranged by producers and engineers to tap into primal, almost subconscious needs and wants in the listener. You don't listen to the KLF's music as much as you experience it. In so many ways it is genius, in so many more it is a choice about whether to join Drummond and Cauty in their cynical, destructive, anarchic and in many ways actively unpleasant world view, or you put your hands in the air and ask "what time is love?" while having the time of your fucking life. It's a tough choice, and one only you can make. Personally, knowing what I know about how deeply disturbed and downright unpleasant the grubby world of KLF was, I choose to kick out the jams, motherfucker!

Strange strange band. Were they ahead of their time? I don't know since I was too drunk in the club at the time to notice if anyone else was doing this at the time. Still, the music is good and it brings back good memories. You had to be there.

Still great.

More electronica in this list yes! This album is banger after banger. Love the synth sounds and the vocals are consistently great.

I’m definitely giving this one a five star rating, because I love this album. Unfortunately for all the people who are listening to this for the very first time, I totally get why you think this record would suck. It comes off as generic, samples that everyone else has used, and just very run of the mill hyped up eurodance. Well in order to understand this, you just had to be there at the time, and know what was going on with music at that point in time. The sampling, the hyped vibe of the album, and everything else that comes with this record, was literally the first of its kind. Although dance music was already around, these guys definitely progressed it forward in a lot of ways, and have definitely made their mark in electronic music history.

Beautiful. The version of last train to transcentral wasn't as good as the version I remember, but it is a great album to listen to and vibe to.

This always leaves me with a grin on my face, on YouTube searching Timelords' Doctorin the Tardis... ...The KLF had a knack of hitting the spot and making it look like an accident.

Timelords Justified ancients of Mu my JAMMs KLF WHATEVER YOU WANT TO CALL THEM Bought 1987 what the f*CK when it originally came out. Have loved the Justified Ancients of Mu Mu ever since. Great exploitation method.

influential and banger after banger. 4.8

Glenn Hoddle and the entire Chelsea first team and backroom staff jizzed all over my hair and back as I sang this record in the shower after every training session. Good memories.

Sweet sweet subversion

it’s love from the first song!

Very unique.

I’ve said it before and I’ll say it again – I just like electronic music. Maybe it’s my transfemme brainworms, but I have a really hard time disliking any electronic music that could reasonably be played at the club. Acid house is no exception. Sure, it sounds dated and is definitely not for everyone, but give me a 303 bass and a beat and I’m sold. I’m no electronic aficionado, but when I get it in my hands, I’m very easily convinced. Not being British and being much too young to have heard of The KLF – who seem to have purposefully blown up their legacy as a punk statement, which only adds to their coolness potential for me – The White Room is a blind listen. The multiple versions on Wikipedia’s track listing did leave me a bit suspicious, but those fears were pretty quickly quelled. Listening to the North American release, I was a bit concerned by the vibe that “Justified and Ancient (Excerpt)” was putting out, but from “What Time Is Love?” through “Last Train to Transcentral,” I was just met with some excellent, intricate acid house that I would love to hear at a club, and also would love to play will working my adult 9-to-5. Again, I’d be hard press to hate this music, and The KLF make a great version of that style. Where The White Room starts to lose me, though, is on its second half. There seems to be an ambient approach to house here (which may be based on a side-project, from what I’m learning), but there’s also a strange reggae influence, and both those things are not my particular vibe. It’s still well made, for sure, but these songs’ length and sparseness don’t hold my attention. Call me basic, but I need something to dance to, and “Build a Fire” and “The White Room” really don’t give me that. Momentum picks back up a bit with “No More Tears,” but that and “Justified and Ancient” are both a little more rave-y and spacey than I prefer to hear from my house music, and lack the punch of the first half of the album. On face value, The White Room is very good, with some standouts and just enough solid tracks that push beyond acid house to make me lean positive past a 50/50 split. What solidifies my interest, though, is the group itself, and their lore, which is absolutely fascinating, and justifies their inclusion on this list in and of itself. When I listen back to the music, though, I won’t be surprised if I search for a vinyl copy and stick to Side A, because that’s the type of house music I prefer, even though I acknowledge the value of Side B aesthetically. Still, overall a strong album, but also, as I said, I’m biased and a bit of a pleb with this stuff and go mostly off a vibe of how excited I’d get if this came on at the club.

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doesn't sound ancient, fully justified - all aboard!

Acid-house de primeira. Um som bastante característico do começo dos anos de 1990. O disco é incrível!

The album itself consists of hunks of tripe interspersed with tidbits of sweet genius. But dig deeper into the KLF story and you won't be disappointed.

Loved it! Super fun dancey album

The White Room drags me back to its time and gives me a few jolts of joy: making irony truly fun is a rare feat.

So, the first time I listened I thought ffs this is rubbish, more of an art project rather than musically great. Second time I'm really enjoyed it. So maybe they really did know what they were doing. It was fun being reminded of all their shenanigans. Interesting that both regret burning the money

Surprised to find I really liked this

+1 for the weird story

Old school techno with a wry smile

This sounds unbelievable dated. I guess it was unique at the time but yeah just not working for me.

Euro house dance rave electronic mish mash. Not great to sit and listen to.

It may have been a lot better when it came out, but I don't think it holds up or is timeless at all. And I'm shocked to see it at the top of so many Top XXX lists of blah blah blah. That I don't get.

The album isn't available on Spotify so I went to YouTube which forces you to listen to commercials between each track. I got two tracks in and knew this isn't something I enjoy. Beyond that, musically it's sooo dated and just sounds like music from a bad early 90's movie at this point.

I was able to find a cobbled together playlist of the original tracklisting on Spotify. This album was fine, it's not for me, and I don't need to wade to deeply in to this. It feels more like a "needed to be there" thing.

Maybe this was better in 91 at a rave in a field in the middle of England. But it's pretty boring now.

Brilliant!! 5 *'s

Justified and timeless classic

The White Room by KLF is a fantastic album—I’ve already listened to it three or four times today, and with each listen, something new stands out. This is Electronica at its finest: immersive, inventive, and endlessly replayable. The use of samples is particularly strong, adding layers of texture and intrigue. There’s a surprising amount of variety across the tracks, with shifting beats and inventive sound effects that keep things fresh. The vocals are diverse and well-placed, adding character without overpowering the production. This 1001 Albums challenge has helped me realize just how much I enjoy this genre. I’ll definitely be diving deeper into Electronica moving forward. Favourite track: “Last Train to Trancentral” is a standout, as is “No More Tears.” Least favourite track: Honestly, every song earns its place—there’s no filler here. Album artwork: A very cool and fitting visual for the music inside.

I thought this would be some EDM trash. How wrong I was. This album is one of the best cases of how electronic music can blend various harmonic sounds and rhythms.

Surprising really fucking good. I loved this vibe, the samples are great, lots of fun beats with cool sound effects, and some great vocals. I liked the guy with the accent talking

Solid albums. I listened to the director's cut version on Spotify and the regular version on YouTube. I enjoyed them both. Next time I'm in the mood for some electronica I'll throw this on.

An absolute classic in it's genre - whatever that is - or any genre. One of my all-time "need to feel a bit better about life" albums.

This taps into something that activates my brain to tell me: it’s time to bob your head to euro acid beats. This is the kind of music I can remember sitting around listening to while gaming on my retro consoles in the early morning when I should be going to sleep because I have school in a couple hours. Love this type of music and this album really hightens the theme to the maximum. Got an Eek-a-mouse jumpscare and I am pretty sure he is a pedophile and crazy person, so that’s not great. I also listened to the director’s cut album which a lot of people are complaining about so I guess I would have really really enjoyed the original. 9/10

Ok, so I listened to the Director's Cut and then 1991 UK and US releases and then the Director's Cut again. My memory of The KLF was all about that 3AM Eternal which isn't even on The Director's Cut and wow this album was a lot more chill than I was expecting. As much as I enjoyed the 1991 albums I'm putting the Director's Cut at the top of my list.' Faves: Build A Fire, Last Train...

Love it when you have to spend a few minutes on wikipedia figuring out which version to listen to! 😆 In this case, I already had the "Director's Cut", and what I thought was the original version turned out to be the US release, so in the course of remedying that I've ended up listening to all 3 versions. First off, the "Director's Cut" is a bit naff - the stadium house tracks have been absolutely gutted. The more ambient tracks fare a bit better. The UK version is definitely superior to the US version - the tracks flow together much better and the added samples and crowd noise make it a bit more cohesive. It's not my fave KLF album, but I gotta go 5 stars here as a matter of respect. Hail Eris! Fave track - let's say "3 A.M. Eternal" - always a banger!

Anyone who can make a fortune from, and win awards from, the music industry by taking the piss out of the music industry is a genius and deserves 5 stars for that alone. The excellent use of sampling on their previous incarnation's (The JAMs) "What The Fuck's Going On" album deserves another 5 stars. This album continues that theme.

Had I ever wondered what the KLF would sound like if they were actually Leftfield, Arab Strap and Ace of Base then The White Room (Directors Cut) completely answers that question. Thankfully originally they didn’t and they already had five stars in their pockets, which they proceeded to burn.

Fun, varried, danceable house

I never thought of seeing The White Room on this list. It's still one of the best albums of that time. Some years ago, as I dissolved my CD collection, I had to keep this CD because there was no online music spot where I could listen to it besides YT. So I was amazed to find it on Apple Music now. Okay, back to the album itself. The KLF, or Kings of Low Frequency, was a project designed to be a commercial success. They wanted to do hip-hop without prior experience and created a sound that pioneered several subgenres of house/dance music. TWR was the peak of this success story.

Very nice

I don't particularly love their music but good lord these were a couple of the coolest dudes. Here I am, again, recommending Bill Drummond's autobiography '45'. Thanks to the Ad-executive wank who recommended it to me in a pub many years ago.

I know this album is brilliant - in my opinion at least. Just gutted that, for some reason (because usual Bill Drummond / Jimmy Cauty / KLF shenanigans? Copyright issues? Who knows*? 🤷🏻‍♂️), the link to play it on Spotify, basically goes to a dead link... It brings up the standard Spotify album, track listing image etc, which lets you press play, and indeed acts like it's playing - apart from the fact the track doesn't come up at the bottom of the screen - but absolutely nothing happens... The full, original album doesn't even show under the KLF artist listing. Anyway, the Director's Cut of the album that *is* listed under the KLF albums, and, more importantly, is working on Spotify is similar but not, imho, as good as the original... Glad I was able to play my original vinyl for a trip down memory lane... I was never a raver (too square, didn't have the right friends etc.) but I like a bit of this kind of music... Somehow for me it just hits the spot... Brilliant... ...if you like this kind of thing. *Someone clearly...

WOOOOOOOOO!!!!

4.5

90s electronic music

idk

Brilliantly bonkers

Best electronic album on here so far

Really good. Directors cut included a few more tracks, will definitely listen again

Absolutely brilliant stuff. Is it right to give it 5 stars, though, if the Directors' Cut version is even better?

very fun and danceable. makes we wish i was a dj

kuinka hauska :) good wibes & chill beats.. relax, sit back, and enjoy the good wibes & chillest bebats. top review tässä on myös syvällinen ja erittäin kiinnostava kappale, joka vaan lisää nautintoani tässä. istu taakse ja rauhoittaudu, tunne ne väristykset ja viileät tahdit.. anna mun kaikki kestää!! älä koskaan rauhotu.. ylös juhlimaan.. ylös tanssimaan.. ylös kuolemaan.. revi silmät vittuun siitä päästä ja heti paikalla!! Valkoisessa huoneessa, jossa on mustat verhot asemalla mustan katon maaseudulla, ei kultaisia ​​jalkakäytäviä, väsyneitä kottaraisia.. kaikkea sitä joutuu kestäään tässä .. ihan pimeetä touhua pimeetä. magrudaga eterna

Schöner Mix aus Elektro/Pop/Rock. Klingt modern und hat angenehme Rhythmen. 4/5

I enjoyed it, was expecting other thing, but is quite a nice album to listen to. 4/5

Pass the pacifier, please, I'm peaking.

I'm all in for the ideology here - and the documentary - Who Killed the KLF? I think it is, fascinating

would be 5 if the first half of the album didnt suck

This was cool hearing this genre of music from the 90s, definitely doesn't feel like 1992

Tale of two stereos. Listen on a portable device, or small speaker and the album is so-so. Play this on a good home system that has range and this is an altogether different sounding album. Enjoyable start to finish.

Etsivät keinoja välttää aamuyön tuntien kalvavaa tunnetta siitä, että pitäisi lähteä jo kotiin. On liikuttavaa, miten paljon hyviä ideoita yhtyeellä on, ja miten sulavasti levykokonaisuus rullaa. Välissä on pientä junnaista, mutta levy kehittyy, ehkä myös paranee loppua kohti: No More Tears on todellinen eepos, joka kantaa 8 minuuttia yhdeksästä. Ja - mitä helvettiä - rakastan viimeistä biisiä ja sen ihmeellisiä sanoja. Kuuntele itse. Hekin jäivät ehkä bilettämään.

Fair

It was a pain to try to track down the right tracks, so I hope the ones that were different are close enough. The best song was Last Train to Trancentral. It had a part that reminded me of the soundtrack of Plok. I love that.

Nog fan är det bra. Men toppbetyg blir det inte då det är lite påfrestande med sådan energi och uptempo hela tiden.

Not sure this album is available anymore, I liked the recent directors cut though

very unexpected gem, enjoyed the mixture of genres with crazy mish-mash. probably a 4.5

Honestly, this was so much better than I expected. I don’t normally do electronic, much less EDM, much less formative UK rave EDM. It all feels repetitive in a way that makes sense for losing yourself in the beat for hours (I assume, as a not-raver), but not for just listening to at home. Anyway, this was not repetitive or boring to me. I’m not buying the album or even adding it to my Spotify/Apple, but it was not boring.

There really hasn’t been a ‘band’ (I use this term loosely) quite like The KLF before or after their inception. This is maybe not their best album (for me that would be Chill Out) but this is probably their most cohesive, that being said it’s definitely an album of two halves. The first side is pure Stadium House. What Time Is Love still evokes that pure ecstatic ‘hands in the air at 3am’ rave energy. Personally I would’ve preferred the single mix of Last Train To Trancentral but the version on here is still good if a bit more subdued (RIP Ricardo Da Force). The second side.. at the time it flummoxed a lot of people including me (country music on a dance album??) but the passing of time has proven that once again they were just WAY ahead of the curve. I’ve since grown to love the second half and this would be a 5 star album but for me No More Tears goes on far too long and isn’t interesting enough to warrant its 9+ minute runtime. Everything else is a banger and stands (along with Altern-8’s Full On Mask Hysteria, The Prodigy Experience and 808 State - Ex:El) as a perfect capsule of a time, place and culture that I was so happy to have experienced first-hand.

Very nice electronic dance music. I've never heard it before but I actually listened to it twice because the beats are very catchy and it has a great groove to it. Time flew by while listening and nodding along. I'm sure I will listen to this one many more times.

I watched a mini-documentary on this band that gave a lot of context for this album and how the band felt about it. It was really interesting, though I'm not sure if it helps my appreciation of the album. Anyway, this is some bangin ass 90s dance music, and every song is solid. It starts to sound a little samey after a while, but then again so does most dance music 4/5

Interesting, low 4

Highly enjoyable chaotic pop house record.

Another nice surprise. Just when I thought I was faced with just another elecrtonica dance album, this one was so much more. Very melodic and listenable.

Хорошо, в музыке есть что-то уникальное и необычное.

Weird album. Sounds epic at times, I wonder how they manage to avoid sounding corny this with those synthesizer sounds. Must be the beats. The beats are great. 3AM Eternal is awesome. 3.6

This probably doesn't sound all that exciting divorced from its time and without the videos or Top of the Pops performances or Tammy Wynette. But having memories of all that along with memories of dancing like an idiot to it with my friends makes my heart warm and fuzzy.

4 stars, interesting vibe

4.0

I liked bits of it and didn't care for others but generally it was positive and well produced. Really liked Justified and Ancient, will listen to that more I reckon if I remember.

4 Stars (11/15)

I listened to this on a YouTube full album since it didn't seem to be on Spotify. I couldn't tell the songs apart but liked it as a cohesive whole. I would like to be on the Last Train to Trancentral.

I'm reading the wikipedia page for this band as I listen to this album. These are some weird dudes. They fit the category of "Your Favorite Band's Favorite Band". They performed under a variety of aliases, they wrote joke songs, serious songs, and books. They spent all the money from their hit joke song on trying to make a movie and accompanying soundtrack, but failed. They revolutionized house music, became the top selling act in the world, and then retired by buying a dead sheep and dumping it an award show after party. They were actually planning to massacre the sheep on-stage and throw its blood all over the audience, but were prevented from doing so by the BBC. They settled for buying real machine guns filled with blank movie rounds and firing them into the audience. Their intent was to create such revulsion for the band that nobody would ever listen to them again. They failed, so instead they deleted their entire back-catalogue and retired. They then spent all of their remaining money on a foundation that awarded "The Worst Artist In The World". They provided music critics with thousands of pounds in cash, presented them with one million pounds in framed notes, and then drove to Rachel Whiteread (the aforementioned 'Worst Artist in the World') in a motorcade of gold and white limos and demanded she take the money. She refused but ultimately accepted when informed the KLF would be burning the million pounds if she didn't take it. In the 2020s they have made a return and have begun re-releasing their works digitally. Anyway, the music was good. I listened to the entire album while reading their wikipedia page. I can't tell you anything about which songs I liked, but I did like them. 8/10