a b George, Iestyn (March 1991). "The KLF: The White Room". Q. No.54 . Retrieved 4 March 2020. Archived (via the Library of Mu) on 16 September 2016. Wikipedia:WikiProject The KLF/LibraryOfMu/206 The first of their Stadium House Trilogy, it is an edit of this Live At Trancentral mix that appears on the album. The single was their first hit under the KLF moniker and reached No.5 in the UK in July 1990.

ARIA Charts – Accreditations – 1991 Albums" (PDF). Australian Recording Industry Association . Retrieved 27 November 2021. It also has the single mix of 'Last Train To Trancentral' instead of the mellower UK album version, edits 'No More Tears' down from 9:24 to 6:42, and adds a little more wind noise at the end of the closing 'Justified And Ancient'. Mr Whitworth said he had to mention it, adding: “I just told Jimmy what I had found and that I thought it could be a real Banksy - he just smiled and said ‘that’s very, very interesting’”. Mixed at Lillie Yard except A1 mixed at The Townhouse, London and A3 mixed at The Manor, Oxfordshire. The White Room is the fourth and final studio album by British electronic music group The KLF, released on 3 March 1991. The album features versions of the band's hit singles, including " What Time Is Love?", " 3 a.m. Eternal", and " Last Train to Trancentral".

Credits

One of the defining features of the “White Room” album is its seamless blending of different musical elements. The KLF effortlessly combine samples, beats, and live instrumentation to create a rich and layered sonic tapestry. This approach, along with their irreverent attitude and willingness to experiment, helped establish The KLF as innovators in the electronic music scene. As had been the case with What Time Is Love?, 3 A.M. Eternal was originally a Pure Trance 12″ single released in 1989, before being reworked as the second instalment of their Stadium House Trilogy in 1991. It is an edit of this version that was included on The White Room.

Cauty, Cressida (August 1989). "KLF Info Sheet 6". KLF Communications. Archived (via the Library of Mu) on 16 September 2016. Wikipedia:WikiProject The KLF/LibraryOfMu/506 It was during one of these hunts that Mr Whitworth, from Wakefield in Yorkshire, and his wife believe they may have grabbed hold of an original Banksy in the Baltic Triangle. Shade, Chris (2006). "The KLF: The White Room". In Dimery, Robert (ed.). 1001 Albums You Must Hear Before You Die. Universe Publishing. p.672. ISBN 978-0-7893-1371-3. It has a total playing time printed of 45:05, but in reality it's only 43:54. It lists 9 songs, but only has 8 indexed. John Whitworth was one of 400 special guests who were in the city last week for a highly unusual book launch event being held by enigmatic electronic band the Justified Ancients of Mu Mu - also known as the KLF.Subsidised with the proceeds of an 80s novelty hit, the eccentricities, the vision and ambition of KLF, combined with their taste for acid house and anarchy, resulted in The White Room, one of the finest dance-pop albums of the 90s… The KLF The White Room cover

The KLF use an Oberheim OB8 Synthesiser, an Atari Computer, an Akai S900 Sampler, a Gibson 330 Semi-acoustic Guitar. Top 100 Album-Jahrescharts". GfK Entertainment (in German). offiziellecharts.de . Retrieved 14 October 2020. a b "The White Room - Information Sheet Eight". KLF Communications. August 1990. Archived (via the Library of Mu) on 5 October 2007. Wikipedia:WikiProject The KLF/LibraryOfMu/508 With a music press well used to their headline-grabbing antics and publicity stunts, it was best described by Select magazine. “It’s the last grand gesture, the most heroic act of public self- destruction in the history of pop,” they wrote. “And it’s also Drummond and Cauty’s final howl of disgust, defiance and contempt for a music world gone foul and corrupt.” It was the perfect epitaph. Read more: The complete guide to the KLF The KLF: The White Room – The SongsIt was important for me that The KLF was successful worldwide because I hated bands somehow who thought they were big and, really they were only in big in this fake world of NME and Melody Maker,” Bill Drummond told Richard King for his How Soon Is Now? book.