Drummond and Cauty's campaign to "fuck the millennium" also involved a number of outlandish activities and proposals under the umbrella of their company K2 Plant Hire Ltd.

These activities were intended to culminate in the construction of "The People's Pyramid", a 150-foot-high (46 m) structure built from recycled bricks at no cost to the taxpayer and which would have no entry fee—in pointed contrast to the UK government's Millennium Dome, construction of which had begun earlier in the year—and for people to use as they saw fit, including painting it or chipping it away.

[6][7][8] Drummond and Cauty's art project, the K Foundation, disposed of the KLF's earnings, including by burning one million pounds of it, money which was originally provisionally earmarked by the duo for millennium celebrations.

[9] Bill Drummond: "Originally we were going to invest the whole lot in some capital growth fund and spend it all on one big event, maybe at the millennium.

[13][14][15] In February 1997, Drummond was contacted by his former Big in Japan bandmate Jayne Casey,[16] who was helping to organise an arts festival in Liverpool and had noticed that Acid Brass' repertoire included the KLF's "What Time Is Love?".

"[23] The Independent looked forward to the event, saying that "It was just a matter of time before Jimmy Cauty and Bill Drummond hatched another prank and put a grin back on the face of pop music."

1 again ..." they said, but "One hopes they are not about to shoot themselves in the foot" because "the idea walks the tightrope between lunacy and brilliance ... the pop world's countdown to the millennium surely starts here.

[26] Drummond's creative associates Mark Manning and Gimpo appeared on stage as, respectively, "an axe-wielding "salvationist" in a vicar's collar and gold lame suit, and a shop steward character in a white coat with a megaphone".

[26][30] Drummond and Cauty were then unveiled as pyjama-clad, wheelchair-bound pensioners with grey hair and, strapped to their foreheads, prominent horns that had been used regularly in the KLF's promotional videos.

[26][30] A press release issued by Mute/Blast First (Acid Brass' and 2K's record label) suggested that "Two elderly gentlemen, reeking of Dettol, caused havoc in their motorised wheelchairs.

"[30] Following the performance, every audience member received a "Fuck the Millennium" T-shirt, poster, and bumper sticker in a carrier bag.

"[33] The Guardian called the performance "a glorious, jaw-dropping mess",[31] and The Times commented that "the strongest point in its favour was its brevity".

[18] Select said, "There was no press furore the next morning—merely the anticlimactic aftertaste left by 40-year-old men miming to a seven-year-old song ... 2K was unquestionably a failure.

"[34] A single, "Fuck the Millennium" was subsequently released, a studio-based recording falsely promoted as an edited version of the Barbican performance.

The unedited studio recording of "Fuck the Millennium" is a 14-minute composition,[8] a protest song based around the KLF's house music track "What Time Is Love?

[37] Among the voices singing the three verses of the hymn are keyboardist Nick Coler, Drummond and Cauty, multiple recordings of whom are overlain to simulate a congregation.

[37] Neil McCormick wrote in The Daily Telegraph that the single may be "noisy and confrontational" but that "it looks set to provide these pop situationists with another... hit, tapping into the fear and anxiety many people feel about the end of the century".

[18] Select journalist Mark Frith enthused about the track in the context of the duo's wider catalogue: "As soon as it starts you immediately remember the excitement that comes from hearing a KLF record for the first time.

";[40] Melody Maker noted the pointed contrast of the "intended virtues" of the People's Pyramid with "the drawbacks of the officially sponsored Millennium Dome".

[40] The Guardian noted drily that the idea "would appear to be far-fetched even by [Cauty and Drummond's] own standards" and that "planning permission might pose a problem.

"[42][n 3] K2 Plant Hire also contributed a short story, written by Drummond, to editor Sarah Champion's anthology Disco 2000.

[44] Drummond and Cauty reportedly tried to use K2 Plant Hire's remaining funds to bid for purchase of the ancient Rollright Stones.

[44] Psychogeographer Stewart Home alleged that despite K2 Plant Hire's bid being the highest, the owners of the monument refused to trade with the duo.

[32] The advertising campaigns before and after the single's release resumed Drummond and Cauty's characteristic promotional tactic of cryptic, monochrome full-page adverts placed in UK national newspapers and music press.

[19] Seafaring was a recurring element of Drummond and Cauty's output, in lyrics from Who Killed The JAMs?, The White Room and "America: What Time Is Love?

"Fuck the Millennium" was a studio track promoted as a live recording and featuring sampled crowd noise, as were the KLF's self-named "Stadium House Trilogy" of singles.

"At one unfortunately memorable Stereophonics gig ..." the paper said, "the extent of Richard Jones' showmanship was to play his bass while standing on a rug ... this is hardly the pyjama-clad KLF, horns strapped to their heads, whizzing around the Barbican in wheelchairs with Zodiac Mindwarp in a pulpit and hundreds of sacked Liverpool dockers yelling "Fuck the millennium!"

at the tops of their voices ..."[55] Likewise, a 1999 feature on Drummond and Cauty in The Irish Times reported their millennium activities with some warmth.

"[56] Recounting the exploits of 2K, and the press reaction, in his book 45 (published in the millennium year, 2000), Drummond said: I wanted to stamp my feet and scream "But you don't understand, the whole show was about the crapness of the comeback, of blowing one's own myth.

[8] The record was not a success in comparison to the KLF's earlier chart-topping endeavours, peaking at a number 28 in the UK Singles Chart.