WAITING.                       KLF BIOG 010.
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      A meditation on the qualities of Waiting, or "This is not The
      White Room".
      "Waiting" is a forty minute impression of The KLF's eight day
      visit to the Isle of Jura off the West Coast of Scotland in
      Spring 1990.
      The KLF's original plan on visiting Jura was to take their mobile
      studio "Trancentral" and record an album entitled "Gate".  It was
      to be a minimalist techno record, but the power of the land, sea
      and sky scapes of Jura and the almost dream-like quality of the
      light put an end to any thoughts of making music more suited to
      inner city night life.
      Instead they spent their time waiting.  Waiting for the tide to
      turn on the almost motionless sea.  Waiting for the sun to sink
      beyond the mountains of the Western Isles.  Waiting for the stars
      to stud the darkening sky.  Waiting for the dawn to creep in from
      the East.  But maybe more importantly, waiting as emotions within
      themselves shifted and changed, stirred and settled.
      Along with this poetic stuff they continued to wait for all the
      trivial things in life that we seem to spend so much of life
      waiting for; kettles to boil, phones to ring, baths to run, moods
      to pass, something to happen, or at least some sort of
      While waiting for this "explanation" The KLF took their equipment
      up onto the moors.  Using a small diesel powered generator for
      power, they proceeded to "interact with the environment".  First
      recording the sounds around them (wind, birds, cattle, the
      generator).  Then with chunks of pre-recorded music and segments
      of their own compositions they used their method of "composing,
      compiling and collating" these different sounds, carefully
      building a complete and original work.  This was then projected
      back out over the moors and across the island.
      Once bored with this they returned back down to the coast and
      once again set up their equipment, this time on the sea's very
      edge, and spent several hours sending "sonic sculptures" across
      the sea, until the advancing tide necessitated the end.
      If analogies are to be drawn, "Waiting" is more like a 19th
      Century watercolour painter's sketchbook full of free form
      washes, than a Renaissance artist's commissioned masterwork.
      Debunk where applicable.