SILVER APPLES

The debut release from this New York City-based duo, Simeon Coxe was a true pioneer of electronically-generated sounds, employing old and new oscillators as well as Theremins and more. Some historians give Simeon and Silver Apples credit for the existence and transformation of such artists as White Noise, Tangerine Dream, Kraftwerk, Brian Eno, Throbbing Gristle, Bill Nelson, Talking Heads, New Order, Aphex Twin, Massive Attack, Underworld, Nimh, and Com Truise.

1. "Oscillations" (2:47) opening with modulated sound oscillations before being joined by a CAN-like bass-and-drums rhythm track and vocals with background harmony singer. An interesting lyric that is full of information and definitions of oscillations within and without the context of sound. (8.875/10)

2. "Seagreen Serenades" (2:53) another bass-and-drum rhythm track over which Simeon and his electronic sound generators (and, later, recorder) play. Interesting co-existence of the purely-acoustic recorder and the purely- electronic sounds. The bucolic lyrics here are not quite as interesting to me. (8.75/10)

3. "Lovefingers" (4:10) industrial synth droning sounds! Calmer drums join in with pulsing synth note used to provide the two-note bass line. Two-voice singing enters and establishes their melody and motif over the top. A barrage of (I'm assuming) individually-tracked synth sounds joins in with the advent of the second verse and continues to move and entertain throughout the rest of the song. It's weird, but there are actually moments in which I feel I'm listening to Simon & Garfunkle vocals over the top of this very Brian Eno/Talking Heads-like music. (9.125/10)

4. "Program" (4:05) nice rock drum pattern from Dan Taylor's kit while Simeon giving this a very Bill NELSON/BeBOP DeLUXE sound and feel (despite the occasional Simon & Garfunkle passages in which Dan provides his harmony vocals to Simeon's leads). The radio voices and Vivaldi/classical music additions also pre-date some of the experimental work of CAN and Holger Czukay. (9/10)

5. "Velvet Cave" (3:28) very 1980s Euro-house/dance music foundation over which Simeon gives a kind of Tom Dooley folk vocal performance. Wow! These guys were definitely way ahead of their time. Then there's the rather taboo subject matter of the lyrics: way ahead of the Tipper Gore sensors! Wild and frenzied as the tension mounts at the end, the music and voice becoming almost tribal or animalistic toward the end. (8.875/10)

6. "Whirly-Bird" (2:39) another song that has a kind of folk feel from its vocalists--not unrelated to S &G "Cecilia"'s melodies and South American flavors--though the pulsing county fair-like music feels more like something from Ralf and Florian (KRAFTWERK). (8.75/10)

7. "Dust" (3:42) opens with a little BEATLES "Get Back" effect though it never bursts into the blues-rock kind of motif that John, Paul, George, and Ringo do. No, this is almost purely experimental B-movie Sci-Fi lo phi stuff with oscillators, cymbal play, and nearly-crazed/deranged-sounding, disjointed vocal "list recitation" within and over the top. Weird stuff that will feed many so-inclined experimentalists. (8.75/10)

8. "Dancing Gods" (5:55) near-Native American multiple-tom, conga (and/or djembe?), and timpani drumming with more David Byrne-like crazed chant-singing while droning oscillator notes and sounds accompany. Interesting if not my favorite. The rant goes on just a bit too long for my nervous system.(8.75/10)

9. "Misty Mountain" (2:38) playful oscillator, bass, and drum play over which higher-pitched male vocal performs. This one sounds very 1980s-ish--like Aphex Twin, Boards of Canada, or Ultravox. A little too intentionally (and creepily) - hypnotic for me. (8.6667/10)

Total time 32:17

Definitely an album of revolutionary sound that is way, way ahead of its time.

B/four stars; a landmark achievement in experimental music that would be a masterpiece if not so obscure.