Reupload - Dracula's Daughter - Candy

KLF - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About KLF, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .




You'll remember, of course, that I once mentioned that Bill Drummond and Mark Manning (aka Zodiac Mindwarp) wrote and released a number of records in 1997 under the guise of up-and-coming acts from Finland? Oh, you don't. Well, if you really need more information on the slightly baffling project (which in fairness is no more or less baffling than most Drummond activities) a website still sits here.

As only 500 copies of each were ever pressed and imported to Britain, they're naturally extremely scarce, and actually tremendously varied in quality as well. Some - such as KLF roadie Gimpo's self-titled "Gimpo" - are an absolute waste of precious pressing plant resources. Others - like Aurora Borealis' self-titled "Aurora Borealis" - were actually extremely good, but I won't waffle on about that one too much since it's already been posted on this blog elsewhere.

Draculas (sic) Daughter's "Candy" sits somewhere between the two. Manning and Drummond periodically used local Finnish musicians and singers for the recordings and just directed their style, and it seems fairly safe to say that's what happened in this case. What you've got here, then, is a pretty good Velvet Underground apeing disc which wouldn't have been out of place amidst the mid eighties music scene, or indeed the late sixties one. It's hypnotic, repetitive and insistent, and features some agreeably lazy, scuzzed up guitar work in the instrumental break. Please don't ask me why the original title "Supermodel" is scrubbed out on the label, because I have absolutely no clue...

One has to wonder if Drummond was trying to belatedly achieve with Kalevala a project he mooted a long time ago for Zoo Records, where he created "parallel universe" versions of bands on their catalogue. The Teardrop Explodes were to become Whopper, and featured Cope's alter-ego Kevin Stapleton on lead vocals who "enjoyed a game of rugby and liked the odd pint". These occasionally poorly disguised Finnish bands with their records released by a fictional clueless sounding Finnish indie record label owner do bring to mind a parallel universe Zoo Records, set up in Helsinki rather than Liverpool. Only Drummond could honestly back me up on my hunch, though, and I've a funny feeling he won't bother.


(This blog entry was originally posted in October 2008.  And nope, Drummond hasn't bothered yet, although I suspect he keeps well away from nostalgia-ridden mp3 overloads this days).  

You'll remember, of course, that I once mentioned that Bill Drummond and Mark Manning (aka Zodiac Mindwarp) wrote and released a number of records in 1997 under the guise of up-and-coming acts from Finland? Oh, you don't. Well, if you really need more information on the slightly baffling project (which in fairness is no more or less baffling than most Drummond activities) a website still sits here.

As only 500 copies of each were ever pressed and imported to Britain, they're naturally extremely scarce, and actually tremendously varied in quality as well. Some - such as KLF roadie Gimpo's self-titled "Gimpo" - are an absolute waste of precious pressing plant resources. Others - like Aurora Borealis' self-titled "Aurora Borealis" - were actually extremely good, but I won't waffle on about that one too much since it's already been posted on this blog elsewhere.

Draculas (sic) Daughter's "Candy" sits somewhere between the two. Manning and Drummond periodically used local Finnish musicians and singers for the recordings and just directed their style, and it seems fairly safe to say that's what happened in this case. What you've got here, then, is a pretty good Velvet Underground apeing disc which wouldn't have been out of place amidst the mid eighties music scene, or indeed the late sixties one. It's hypnotic, repetitive and insistent, and features some agreeably lazy, scuzzed up guitar work in the instrumental break. Please don't ask me why the original title "Supermodel" is scrubbed out on the label, because I have absolutely no clue...

One has to wonder if Drummond was trying to belatedly achieve with Kalevala a project he mooted a long time ago for Zoo Records, where he created "parallel universe" versions of bands on their catalogue. The Teardrop Explodes were to become Whopper, and featured Cope's alter-ego Kevin Stapleton on lead vocals who "enjoyed a game of rugby and liked the odd pint". These occasionally poorly disguised Finnish bands with their records released by a fictional clueless sounding Finnish indie record label owner do bring to mind a parallel universe Zoo Records, set up in Helsinki rather than Liverpool. Only Drummond could honestly back me up on my hunch, though, and I've a funny feeling he won't bother.


(This blog entry was originally posted in October 2008.  And nope, Drummond hasn't bothered yet, although I suspect he keeps well away from nostalgia-ridden mp3 overloads this days).  

Second Hand Record Dip Part 66 - Disco 2000 - I Gotta CD

KLF - Hola Music Lovers, Music іѕ а form оf art thаt involves organized аnd audible sounds аnd silence. It іѕ nоrmаllу expressed іn terms оf pitch (which includes melody аnd harmony), rhythm (which includes tempo аnd meter), аnd thе quality оf sound (which includes timbre, articulation, dynamics, аnd texture). Music mау аlѕо involve complex generative forms іn time thrоugh thе construction оf patterns аnd combinations оf natural stimuli, principally sound. Music mау bе uѕеd fоr artistic оr aesthetic, communicative, entertainment, оr ceremonial purposes. Thе definition оf whаt constitutes music varies ассоrdіng tо culture аnd social context.This Blog tell About KLF, Music is formulated or organized sound. Although it cannot contain emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions. .



Who: Disco 2000
What: I Gotta CD
Label: KLF Communications
When: 1987
Where: Music and Video Exchange, Camden High Street
Cost: 50p

If there's one thing Bill Drummond and Jimmy Cauty out of the KLF never seemed to do, it was explain their actions.  Their dislike of the five W's - the Who, What, Where, When and Whys so beloved of all qualified journalists - was so pronounced that they even referred to their distaste for such questions in their fan newsletters.  Given this, it's never been terribly clear what the point of the very seldom-referenced Disco 2000 project was.  It seems to have become the least respected KLF moniker by far, causing the twelve inch singles to slip into the lonely corner of the Music and Video Exchange, reduced to a mere 50p.  Why yes, I did do a double-take upon finding this one there in such good condition.

Fronted by Jimmy's wife Cressida Cauty and June Montana who previously sang lead vocals in his band Brilliant, it's tempting to rubber stamp this as a vanity project and move on, but I suspect there may have been more going on than that.  The three singles by Disco 2000 which slipped out largely unnoticed have a definite Justified Ancients of Mu Mu feel to them, but whilst Jams discs frequently had an anarchic darkness in their grooves, being filled with sampled interruptions and sinister slogans, Disco 2000 records tended to fizz along with a cheery rabidity.  It's possible that Cauty and Drummond were attempting to crack the pop charts by taking what they'd learnt from the sample-a-thon of "1987" and getting two slightly more conventionally charismatic figures to front the mayhem.  If this should be in any doubt, it's worth noting that two of their singles had promo videos, and the third and final Disco 2000 single "Uptight" came with a record store campaign which made it all the way down to Southend where I lived at the time.  Colour posters announcing the single's issue were stuck to the entrance door of my local record emporium, which seems like rather a lot of trouble to go to for the sake of larks (especially given how cash-strapped the KLF apparently were at the time).  There again, you never can tell.  Conventional logic never seemed to apply to the individuals concerned.

Whatever the intentions, Disco 2000 did not break through in the same manner as the Timelords project, or in the manner that the KLF themselves did at a later date, and the press seemed not to jump on the concept with quite the same degree of enthusiasm.  After "Uptight" failed, the project was shelved.  What we're left with is a curious trio of singles which sound halfway between the snarling of the Jams (Bill Drummond's voice can even clearly be heard on some of the tracks, including "I Gotta CD" below) and a hyperactive British version of Salt-n-Pepa.  Unlike Stock Aitken and Waterman's production efforts - which Cauty and Drummond were unquestionably inspired by - these records sound distinctly hand made and hammer their rhythms home almost violently.  It's an unsubtle, sticklebrick kind of pop, not as finely crafted as the ambient or Stadium House work which came later,  nor as brutal as the Jams - but they're an interesting piece in the puzzle, a halfway house in the development of the KLF's style.

As for the frontwomen behind this, Cressida Cauty - or Cressida Bowyer as she is now known - eventually moved on to being responsible for some astonishing design and choreography work for the KLF.  Having abandoned the music industry since their demise, she is presently finishing her PhD at the University of Brighton, doing research on liver cancer.  A greater leap away from the chaos of Trancentral could surely not be made (she also appears to be working with a lecturer there I've had professional dealings with in the past myself, but that's another story).  June Montana's whereabouts are harder to trace, and more information would be welcome.



(and I wonder how many people will actually come this way looking for mp3s of Pulp's "Disco 2000"?  Hmmm... and yes, before you say anything, I did know that Jarvis Cocker originally wanted Bill Drummond to produce "Different Class").

Who: Disco 2000
What: I Gotta CD
Label: KLF Communications
When: 1987
Where: Music and Video Exchange, Camden High Street
Cost: 50p

If there's one thing Bill Drummond and Jimmy Cauty out of the KLF never seemed to do, it was explain their actions.  Their dislike of the five W's - the Who, What, Where, When and Whys so beloved of all qualified journalists - was so pronounced that they even referred to their distaste for such questions in their fan newsletters.  Given this, it's never been terribly clear what the point of the very seldom-referenced Disco 2000 project was.  It seems to have become the least respected KLF moniker by far, causing the twelve inch singles to slip into the lonely corner of the Music and Video Exchange, reduced to a mere 50p.  Why yes, I did do a double-take upon finding this one there in such good condition.

Fronted by Jimmy's wife Cressida Cauty and June Montana who previously sang lead vocals in his band Brilliant, it's tempting to rubber stamp this as a vanity project and move on, but I suspect there may have been more going on than that.  The three singles by Disco 2000 which slipped out largely unnoticed have a definite Justified Ancients of Mu Mu feel to them, but whilst Jams discs frequently had an anarchic darkness in their grooves, being filled with sampled interruptions and sinister slogans, Disco 2000 records tended to fizz along with a cheery rabidity.  It's possible that Cauty and Drummond were attempting to crack the pop charts by taking what they'd learnt from the sample-a-thon of "1987" and getting two slightly more conventionally charismatic figures to front the mayhem.  If this should be in any doubt, it's worth noting that two of their singles had promo videos, and the third and final Disco 2000 single "Uptight" came with a record store campaign which made it all the way down to Southend where I lived at the time.  Colour posters announcing the single's issue were stuck to the entrance door of my local record emporium, which seems like rather a lot of trouble to go to for the sake of larks (especially given how cash-strapped the KLF apparently were at the time).  There again, you never can tell.  Conventional logic never seemed to apply to the individuals concerned.

Whatever the intentions, Disco 2000 did not break through in the same manner as the Timelords project, or in the manner that the KLF themselves did at a later date, and the press seemed not to jump on the concept with quite the same degree of enthusiasm.  After "Uptight" failed, the project was shelved.  What we're left with is a curious trio of singles which sound halfway between the snarling of the Jams (Bill Drummond's voice can even clearly be heard on some of the tracks, including "I Gotta CD" below) and a hyperactive British version of Salt-n-Pepa.  Unlike Stock Aitken and Waterman's production efforts - which Cauty and Drummond were unquestionably inspired by - these records sound distinctly hand made and hammer their rhythms home almost violently.  It's an unsubtle, sticklebrick kind of pop, not as finely crafted as the ambient or Stadium House work which came later,  nor as brutal as the Jams - but they're an interesting piece in the puzzle, a halfway house in the development of the KLF's style.

As for the frontwomen behind this, Cressida Cauty - or Cressida Bowyer as she is now known - eventually moved on to being responsible for some astonishing design and choreography work for the KLF.  Having abandoned the music industry since their demise, she is presently finishing her PhD at the University of Brighton, doing research on liver cancer.  A greater leap away from the chaos of Trancentral could surely not be made (she also appears to be working with a lecturer there I've had professional dealings with in the past myself, but that's another story).  June Montana's whereabouts are harder to trace, and more information would be welcome.



(and I wonder how many people will actually come this way looking for mp3s of Pulp's "Disco 2000"?  Hmmm... and yes, before you say anything, I did know that Jarvis Cocker originally wanted Bill Drummond to produce "Different Class").