Electronic music was driven by composers striving to directly manipulate sound; experimenting with electronic circuitry, amplifiers and loudspeakers. Post-WW2 electronic music began developing rapidly, starting in Cologne 1952-53. Karel Goeyvaerts and Karlheinz Stockhausen experimented with the earliest sound-compositions using sine tones. Drawing from the tape music of Vladimir Ussachevsky and Otto Luening and first sound experiments by Werner Meyer-Eppler, Stockhausen's Studie I was the first composition to use synthetic sounds from sine tones. In May 1953, Stockhausen, Herbert Eimert and showcased the first compositions of electronic music at the Cologne International Festival of Contemporary Music. They utilised a melochord, trautonium, ring modulators, octave and radio filters and tape recorders. In 1955, Eimert and Stockhausen edited the first volume, Elektronische Musique, and articles on electronic music, Texte I and II. Throughout the 1950s, tape music primarily utilised, but this quickly developed into electronic amplification instead of magnetic recordings by the 1960s. Late 1960s, 70s From 1967 to 1976, German artists experimented and drove the frontier of electronic music. Despite being isolated and largely working independently, they were driven by a common principle of seceding away from American and British rock, pop, and soul archetypes as well as embracing absolute political and emotional self-expression through electronically manipulated sounds. Amon Düül, Tangerine Dream and Guru Guru were three pivotal German bands at the avant-garde of electronic music. Amon Düül's albums, including Psychedelic Underground (1969), Collapsing Singvögel Rückwärts & Co (1969), Phallus Dei (1969), Yeti (1970) and Tanz Der Lemminge (1971), showcased anarchic fusions of rock with psychedelic, electronic and even folk sounds. Tangerine Dream's experimentation with trance electronic music formulated their famous 'classic' synth-trio phase with their 1974 album Phaedra. NEU!'s fusion of rock and electronica with repetitive motoric beats and Harmonias seemingly randomly-generated amalgamation of guitar, electronic and synth-pop emerged in the early 1970s. Arguably most significantly however was the prominence of Kraftwerk electronic group. Following the use of Echoplex flute eddies and primitive electronica in their albums, Kraftwerk (1970), Kraftwerk 2 (1972) and Ralf und Florian (1973), their 1974 hit, "Autobahn", drove German electronic music to worldwide prominence, reaching the Top 30 in the US and Top 10 in Britain. Similarly, Can, originating from Cologne in 1968, derived rhythmic bases similarly to James Brown's funk and strange electronic mixing to drive post-rock electronic musicality. 1980s, 90s Throughout the 1980s, German electronic music evolved into techno, drawing from Detroit, Chicago and Frankfurt