Who is supposed to be this f*cking Coxye?

One of the most prolific pioneering 1960s experimental electronic pop music. Whose band Silver Apples reaped hits in this decade, has died aged 82 on 8 September 2020. He was born on 4 June 1938 in Knoxville, Tennessee. At the age of 30 Danny Taylor introduced him the oscilator (an electronic circuit that produces a periodic, oscillating electronic signal often a sine ware).

The first contac was awesome and Coxe reproduced the words from poet Stanley Warren in "Oscillations". The next Silver Apples sound – rough-hewn, chaotic, somehow grimy-feeling - defined a electronic post-hippie era like Kraftwerk or Tangerine Dream also did with Autobahn and Phaedra, respectively.

Nowaday we know The Thing (the duo's self-titled 1968 debut LP) was composed with nine audio oscillators and eighty six manual controls... The lead and rhythm oscillators are played with the hands, elbows and knees and the bass oscillators are played with the feet. Rhythm oscillators were played with hands, elbows, and knees. Bass oscillators are played with the feet.

This instrument - which the press dubbed The Simeon - allowed for some unusual experiments. On stage, Coxe would ask the audience to shout out the name of their favourite radio station - and he would tune into it live, adding random snatches of speech and music to a song called Program.

Rave Movement as a Religion

In the late fifties London was full of bohemian jazz gigs in Soho, after. two decades rock bands such as Keith Moon from The Who coined the term "rave" to describe any wild party, in general. People who offends attended to this kind of events were called "ravers" and mid-sixties related with psychedelia rock bands. Northern soul Djs built-up the following step on satisfying the crowd with music they couldn't hear anywhere else. A good example of this:

This was a crazy, intense time for British music. New technology was coming out monthly, and producers were caught in an arms race to see who could squeeze the weirdest, freshest sounds from their gear. Tempos were rocketing up to speeds faster than limbs could flail, breakbeats were being mutilated and re-stitched, and a generation of DJs who’d learnt their craft playing imports from America and Europe were suddenly packing their sets full of real bangers mate.