hits and the dead sheep and the costumes, they appear not only to care, but to have some idea of how to achieve what they want." "[Of their many aliases,] it is as the KLF that they will go down in pop history," wrote Alix Sharkey in 1994, "for a variety of reasons, the most important being the resolute purity of their self-abnegation, and their visionary understanding of pop." He added: "By early 1992 the KLF was easily the best-selling, probably the most innovative, and undoubtedly the most exhilarating pop phenomenon in Britain. In five years it had gone from pressing up 500 copies of its debut recording to being one of the world's top singles acts." The same piece also quoted Sheryl Garratt, editor of The Face: "the music hasn't dated. I still get an adrenaline rush listening to it." Garratt believes their influence on the British house and rap scene cannot be overestimated. "Their attitude was shaped by the rave scene, but they also love pop music. So many people who make pop actually despise it, and it shows."Trouser Press reviewer Ira Robbins referred to the KLF's body of work as "a series of colorful sonic marketing experiments". The Face called them "the kings of cultural anarchy". Robert Sandall wrote in 1993 that one of the KLF's "maxims" was "making the unthinkable happen". In 2003, The Observer named the KLF's departure from the music business (and the BRITs performance in which the newspaper says "their legend was sealed") the fifth greatest "publicity stunt" in the history of popular music. A 2000 piece in The Daily Telegraph called the BRITs performance "violently antagonistic" and reported that the "music-business audience" was "stunned"; on the other hand, Piers Morgan writing shortly after the performance called the KLF "pop's biggest wallies". A 2004 listener poll by BBC 6 Music saw the KLF/K Foundation placed second in a list of "rock excesses", after The Who. A 2017 piece in The Guardian, pondering the rumoured return of The KLF, noted that "in the 25 years since their disappearance, nobody else has come up with anything that matches the duo’s extraordinary career"; another piece in the same newspaper in the same year, by a different author, called them "abstruse" and "pop’s greatest provocateurs", and their career "anarchic, anti-commercial and mostly ludicrous". Instrumentation Early releases by the JAMs, including the album 1987, were performed using an