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<title>Top Brit Pop/Brit Rock Artists on Rhapsody Online</title><link>http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link><description>Top Brit Pop/Brit Rock Artists on Rhapsody Online</description><category>Brit Pop/Brit Rock</category><language>en</language><ttl>720</ttl><pubDate>Thu, 26 Nov 2009 18:38:48 -0800</pubDate><image>
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<title>Top Brit Pop/Brit Rock Artists on Rhapsody Online</title>
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<title>Coldplay</title>
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<category>Brit Rock</category>
<pubDate>Thu, 26 Nov 2009 11:27:12 -0800</pubDate>
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<description><![CDATA[Coldplay create sparse, emotional soundscapes, dripping with melancholy. The London-based quartet is singer Chris Martin, guitarist Jonny Buckland, bassist Guy Berryman and drummer Will Champion. Their debut album, <i>Parachutes</i>, was released in late 2000 in the U.S., and they quickly became a sensation. The record went No. 1 in the U.K. charts and won Best Alternative Music Album at the 2002 Grammys. Marked by Martin's falsetto-happy vocals, songs like "Yellow" and "Shiver" employ stop/start dynamics that allow serene verses to build to a crescendo, centering on the well-trodden theme of love. Sophomore effort <i>A Rush of Blood to the Head</i> took home two Grammys and earned a spot on <i>Rolling Stone</i>'s "500 Greatest Albums of All Time" list. Hits "Clocks" and "In My Place" were wistful and romantic, labeled by some as radio-friendly Radiohead. The group's third album, <i>XandY</i>, became the best-selling album of 2005, and "Speed of Sound" topped the year's charts worldwide. After conquering the charts and the Grammys, Coldplay shifted their focus from chart-topping anthems to a more experimental approach for their fourth album, <i>Viva La Vida or Death and All His Friends</i> (which nevertheless topped charts upon its release). With ambient maestro Brian Eno co-producing, the 2008 album was an intriguing progression for the band, featuring a mix of global influences, classical strings, heavy piano and glistening bits of dreamy electronics.
- Dan Shumate]]></description>
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<title>Muse</title>
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<category>Brit Rock</category>
<pubDate>Thu, 26 Nov 2009 11:27:13 -0800</pubDate>
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<description><![CDATA[Growing up in the quiet English town of Devon, the three members of Muse dreamed of being in a rock band. At the tender age of 13, they did just that by forming (ahem) Gothic Plague. A few years and name changes later, the trio chose the name Muse and settled into their dramatic, Queen and Radiohead-inspired style of Brit rock. In 1997, they released a self-titled EP, followed by the <I>Muscle Museum</I> EP a year later. "Muscle Museum" was highly touted in the British press and the buzz over Muse was officially on. The trio signed to Madonna's Maverick Records after playing a music industry show and released <I>Showbiz</I> in 1999. <I>Origin of Symmetry</I> followed in 2001 and the band enjoyed some radio success. But they weren't able to break through in the U.S. until the release of 2003's <i>Absolution</i>, which made its way to the top of the <i>Billboard</i> Top Heatseekers chart. Their success continued to grow with the release of 2006's bombastic <i>Black Holes and Revelations</i> and the even more bombastic 2009's <i>The Resistance</i>, which captures Muse at their weirdest, grandest and most ambitious.
- Linda Ryan]]></description>
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<title>Radiohead</title>
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<category>Brit Rock</category>
<pubDate>Sat, 21 Nov 2009 13:42:40 -0800</pubDate>
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<description><![CDATA[One of the 1990s' greatest success stories, Radiohead came to prominence largely on the success of their distorted, ingratiating single "Creep." Drolly repeating "I'm a creep / I'm a loser" in the pounding wake of arena rock guitars wasn't going to win them any artistic grants, but those lyrics and bouts with piercing feedback would not be soon forgotten. It wasn't until <I>The Bends</I> (1995) that Radiohead transcended the formula, crafting the patient, heart-wrenching "Fake Plastic Trees" and the magnetic, sunshine-driven "Black Star." Thom Yorke's signature falsetto began to operate in a more deeply emotional capacity at this point. Finally producing to the caliber of their songwriting, Radiohead's <I>OK Computer</I> demonstrated a staggering attention to detail, probably ranking as one of the greatest commercial artistic successes of the '90s. Rarely does a record offer masterpieces in varying moods. From the thunderously suspenseful "Airbag" to the moody chime of the blustery "Let Down," Radiohead emerged victorious. The alt-rock superstardom and critical gushing that followed pushed them into their darkest and most creative space yet, and they delivered the electronic-tinged <I>Kid A</I> in 2000 and <I>Amnesiac</I> in 2001. Many critics and fans claimed to not "get" the group's twisted, skittering melodies and complicated, chorus-free rock songs but to the devout the band's cerebral art rock was like manna from the heavens. 2003's <I>Hail to the Thief</I> offered up a mixture of guitar-driven tracks amid a more restless desire to experiment. In 2007, Radiohead shook up the music industry with <i>In Rainbows</i>, an album released via their website in which fans could name their own price.
- Kelly Bauman]]></description>
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<title>Snow Patrol</title>
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<category>Brit Rock</category>
<pubDate>Thu, 26 Nov 2009 11:27:15 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<description><![CDATA[Mild-mannered indie-popsters take the slow boat to slackersville, warmly shuffling and strumming though mid-tempo gems. Quiet vocals, lazy mid-tempos, and quirky charm rule the coop.
- Kelly Bauman]]></description>
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<title>Oasis</title>
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<category>Brit Rock</category>
<pubDate>Sun, 22 Nov 2009 10:09:56 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<description><![CDATA[The quintessential "anyone can do it" rock band, Oasis were signed to Creation Records following their storming of an 18 Wheeler show, demanding that label-boss Alan McGee allow them to perform. This successful brand of "laddishness" has helped them become England's kings of rock 'n' roll in the '90s while doing a fair amount of barnstorming in America. Their simple, effective blend of T-Rex swagger, Johnny Rotten sneer, and Beatles melodies has proved to be a winning formula. Known as much for their antics as for their music, the brothers Gallagher have involved the public in their own personal temper tantrums, brought the Cocaine Ego back from the '70s, and once ashed on Mick Jagger's head. Controversies aside, they've managed to write some genuinely effective music and revitalize the spirit of rock 'n' roll with only a modicum of copyright infringement lawsuits.
- Jon Pruett]]></description>
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<title>Keane</title>
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<category>Brit Pop/Brit Rock</category>
<pubDate>Fri, 20 Nov 2009 12:50:57 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<description><![CDATA[The three members of Keane grew up together in Sussex, England and formed the band in the late-1990s. With soaring melodies and choirboy falsettos, Keane's sound is often compared to such bands as Coldplay, Travis and Radiohead -- despite the fact that there's nary a guitar to be found in Keane's music. Making the most of very little, Keane's epic, cinematic sound brims with gut-wrenching melodies telling stories of heartbreak and romance. Their 2004 debut, <I>Hopes and Fears</I>, is particularly impressive.
- Linda Ryan]]></description>
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<title>Franz Ferdinand</title>
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<category>Post-Punk</category>
<pubDate>Sun, 22 Nov 2009 10:09:51 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<description><![CDATA[Formed in Glasgow in 2001, the quartet didn't release their first EP until 2003. When the <I>Darts Of Pleasure</I> came out, it was as though their lean, romantic, and often danceable form of post-punk fell right from the pages of a <I>Smash Hits</i> from twenty years prior. In their formative years, most of the band were students at the Glasgow School of Art and spent their time practicing music at a spot called the Chateau, a music/art space along the lines of Andy Warhol's Factory. The group's smart and slightly oily brand of angular pop was soon embraced by press and fans, whose appetites for a post-punk revival were whetted by the success of bands like Interpol and Hot Hot Heat. They finally released their first full-length in 2004. The LP's unorthodox but unstoppable single "Take Me Out" quickly took off all over the world. In the summer of 2005, Franz Ferdinand built on that success with <I>It Could Be So Much Better</I>, which actually lived up to its title by bettering their winning debut. The Scots then released their third album in early 2009. Stripping away some of their post-punk roots, the band opted to load <i>Tonight</i> with disco-punk beats and spacey synths, making it some of their most experimental and upbeat material to date.
- Jon Pruett]]></description>
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<title>Arctic Monkeys</title>
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<category>Indie/Alternative</category>
<pubDate>Thu, 5 Nov 2009 16:49:23 -0800</pubDate>
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<description><![CDATA[Sheffield, England's Arctic Monkeys began when teenaged neighbors Alex Turner and Jamie Cook received guitars for Christmas 2001; soon, the pair was rehearsing with school friends Andy Nicholson (bass) and Matt Helders (drums). They began playing locally in mid-2003 and soon began handing out CD-R demos to fans, who took it upon themselves to file-share the songs. This in turn bolstered Arctic Monkeys' fan base, which was further consolidated when the music was uploaded onto a fan-created MySpace page for the band. British fans were especially impressed with Turner's thickly-accented vocals and pointed lyrical style, which commented on British youth culture and mores.
<br><br>
A 2005 EP, <I>Five Minutes with Arctic Monkeys</I>, was pressed onto limited-edition vinyl and CD, as well as digitally via iTunes, and they began playing small stages at British festivals, drawing large crowds. The band's debut single, "I Bet You Look Good on the Dancefloor," went to Number One in the U.K. in late 2005; the following January, their first album, <I>Whatever People Say I Am, That's What I'm Not</I>, became one of the fastest-selling British albums of all time, beating the first Oasis album as the biggest debut in U.K. rock history. (It debuted at Number 24 in the U.S.) The second single, "When the Sun Goes Down," was also a U.K. Number One hit. By April 2006, they issued an EP called <I>Who the Fuck Are Arctic Monkeys?</I>, featuring new material. Shortly afterward, founding bassist Nicholson left the group, citing exhaustion from touring. Nick O'Malley, another Sheffieldian who'd played with the Dodgems, filled in on tour and soon became a permanent menter. Together, the newly refurbished quartet recorded a new single, "Leave Before the Lights Come On," released that August. In April 2007, Arctic Monkeys' second album, <I>Favourite Worst Nightmare</I>, was issued, going straight to Number 1 in the U.K. and Number 7 in America. Turner and Miles Kane of the Rascals formed a side project called the Last Shadow Puppets, and released <I>The Age of Understatement</I> in May 2008.
]]></description>
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<title>The Verve</title>
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<category>Brit Rock</category>
<pubDate>Thu, 12 Nov 2009 19:09:52 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<description><![CDATA[Arriving in 1991 amidst a smattering of English bands with monosyllabic names and breathy-voiced, indie/dance crossover potential, Verve's "All in the Mind" was starry-eyed rock 'n' roll for the rave and shoegazing generation. Amidst a haze of heavenly metaphors, headphone-splitting singles and a debut record smothered in half-lidded narcosis, Verve's strong points were immediately apparent: hours spent practicing in smoky warehouses had outfitted the band with a rhythm section that rumbled along like a medicated steam engine, making for live performances that were nothing short of blistering. Although born-to-be-a-frontman Richard Ashcroft was prone to taking the stage in full shamanic poses, there was no doubting the sincerity of this band. If a barefoot Ashcroft cried out, "I wanna know and I wanna feel" with arms outstretched while fronting a sea of slow, muted thunderclaps topped by Nick McCabe's lilting guitar cries, you wanted to know and feel as well. Never achieving much success until the release of <I>Urban Hymns</I> (1997), newly christened the Verve consistently toured the U.S to a small yet furiously loyal cult audience, performing shows that were huge, rock-from-outer-space events packed into tiny clubs. Tensions grew along with their success, culminating in the official split of the band early in 1999. Ashcroft launched a solo career and other members worked in various projects including guitarist Simon Tong's contributions with the Good, the Bad & the Queen. In June 2007, however, the band announced a reunion tour, which would lead to their first album in over a decade, 2008's <i>Forth</i>.
- Jon Pruett]]></description>
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<title>Gomez</title>
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<category>Brit Rock</category>
<pubDate>Sun, 22 Nov 2009 10:09:55 -0800</pubDate>
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<description><![CDATA[British guitar bands that offer more than expensive haircuts and fancy trousers can be a rare find. Enter North England's Gomez. Their 1998 debut, <I>Bring it On</I>, beat out the Verve's <i>Urban Hymns</i> and Massive Attack's <i>Mezzanine</i> (both fine albums in their own right) for the U.K.'s prestigious Mercury Music Prize Album Of The Year. Their music braids vines of organic roots music with strands of bubbly dance production, but their songs tend to stick closer to the soil than the dancefloor. Three singers and two drummers mean a lot of ground can be explored, and Gomez are always willing to go where no Brit has gone before. They've garnered many comparisons to the Band thanks to their innovative take on Americana (<I>MOJO</I> magazine even put them on a cover aping the cover art of <i>The Basement Tapes</i>). One singer barks out lyrics with a warm Eddie Vedderesque rasp, while a second adds your standard, shy-voiced English indie kid, and a third inflects like a very young Tom Waits. Since each one is also a songwriter, the band's best moments feature three different personalities coming together on one soaring vision. And that, good people, is what you call musical chemistry (in it's most pure and dynamic form). With the energy, enthusiasm and passion of young people seeing the world for the first time, they weave in and out of Beatle-inspired power pop, bluesy laments, triumphant rockers or extended cosmic jams -- all the while retaining the kinetic Gomez sound.
- Eric Shea]]></description>
</item><item>
<title>Blur</title>
<link>http://www.rhapsody.com/goto?rcid=art.211&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Pop/Brit Rock</category>
<pubDate>Thu, 19 Nov 2009 15:23:40 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Blur</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.211&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Formed in 1989 as Seymour at London art school Goldsmiths College, Blur (Damon Albarn, Alex James, Graham Coxon and Dave Rowntree) initially fell between baggy and shoegazing, their 1991 debut <I>Leisure</I> an uneasy hybrid. Just two years later they delivered the literate, clipped <I>Modern Life Is Rubbish</I>, winning critical -- if not commercial -- success. Then came "Girls & Boys," an ironic take on the unreflective hedonism rampant in Britain post-acid house. It struck a chord, climbing to No. 5 in the charts and driving <I>Parklife</I> triple platinum in the process. In a hectic 18 months, Blur edged out Oasis in the Battle of Britpop when "Country House" beat "Roll With It" to No. 1, only to see new album <I>The Great Escape</I> drop off the charts. Cue another shift in musical focus, this time to lo-fi indie rock. With it came spats, splits and separations (Albarn and Elastica's Justine Frischmann broke up), but Blur finally cracked America. However, the departure of Graham Coxon in 2002 after recording just one of <I>Think Tank</I>'s tracks finally called time on the band.
- Jamie Dolling]]></description>
</item><item>
<title>Doves</title>
<link>http://www.rhapsody.com/goto?rcid=art.21825&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Pop/Brit Rock</category>
<pubDate>Wed, 14 Oct 2009 12:06:51 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Doves</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.21825&amp;variant=play&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.21825&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Life for the Doves started at the outset of the 1990s when, at the height of Madchester, Sub Sub released the disco-charged, acid house-dripping single "Ain't No Love, Ain't No Use." Disillusioned with the faceless entity of house, the trio traded in their backing tracks for real instruments. The new attitude needed a new name: Doves. The Manchester trio's debut offers a whirling flourish of guitars that ebb and flow with an intensity on par with Travis or Radiohead only less wistful. In fact, one hangover from the band's house days is their ability to accentuate the positive. With a wash of distorted guitars and steady, booming rhythms, Doves create widescreen music that employs the occasional falsetto for dramatic, melancholy-meets-mayhem effect. Doves are still very much an evolving entity, so while it's true that few of their songs resemble each other, it's also true that they sit well together -- very well, indeed.
- Linda Ryan]]></description>
</item><item>
<title>Morrissey</title>
<link>http://www.rhapsody.com/goto?rcid=art.4212&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Post-Punk</category>
<pubDate>Mon, 9 Nov 2009 11:46:45 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Morrissey</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.4212&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Nobody gets despondent with as much cheeky abandon as Morrissey. The former leader of the Smiths, his solo work retains Johnny Marr's Byrds-inspired, jangly guitar sound and adds even bigger doses of 1940s Music Hall, '50s Rockabilly, and '70s Glam. Morrissey's first solo album, <I>Viva Hate</I>, co-written by producer Stephen Street, was a triumph. Since then, the quality of Morrissey's output has careened wildly from respectable to moments of brilliance to leaden time-fillers. Mick Ronson (of early Bowie fame) helped toughen up his sound, but it was the reflective, peaceful and biting <I>Vauxhall and I</I> that reminded the public of this melodramatic crooner's unique vision. By the late 1990s, the public began to take Morrissey for granted and he was without a label for years. Then, in 2004, he released the best-selling <i>You Are the Quarry</i> and was once again embraced by sensitive rockers the world over. If songs as wonderful as "Trouble Loves Me" (1997) don't fly off his pen as quickly as they used to, it's still a comfort to have Morrissey around. He's your eccentric uncle, the one who laughs at stale convention and scoffs at the decadent hipsters ruling the pop world. Morrissey may be nostalgic for an England that never was, but he shows that the most revolutionary action in our busy, digital age may just be unhurried navel-gazing.
- Nick Dedina]]></description>
</item><item>
<title>Kasabian</title>
<link>http://www.rhapsody.com/goto?rcid=art.6857786&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Rock</category>
<pubDate>Mon, 9 Nov 2009 11:46:45 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Kasabian</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.6857786&amp;variant=play&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.6857786&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Taking their name from Charles Manson's getaway driver Linda Kasabian and their musical manifesto from electro-rockers the Lo-Fidelity Allstars, Kasabian brought a dose of squatters-rights polemic to the charts when their debut self-titled album reached No. 4 in the U.K. in September 2004. Add an apprenticeship on the East Midlands nosebleed techno scene and, in singer Tom Meighan, a Liam-esque way with a soundbite -- "The Stones, the Roses, Oasis, we're in that line" -- and it's clear these Leicester aggro-merchants may yet cause as much mayhem as their recreational idols the Happy Mondays.
- Paul Moody]]></description>
</item><item>
<title>The Dandy Warhols</title>
<link>http://www.rhapsody.com/goto?rcid=art.42700&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Dream Pop</category>
<pubDate>Fri, 6 Nov 2009 12:47:20 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Dandy Warhols</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.42700&amp;variant=play&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.42700&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Many associate Portland-based the Dandy Warhols with the Brian Jonestown Massacre. Like BJM, the Dandys are one of the few Anglophile bands who wound up in the same British weeklies they read religiously while growing up. They melted onto the scene with <i>Dandys Rule, OK?</i> (1995), a spatial and atmospheric collection of songs that exposed an occasional pop gem, like the lyric-less "Dandy Warhols T.V. Theme Song" or the pole-grinding stripper anthem "Ride." Their second album <i>Dandy Warhols Come Down</i> (1997) found frontman Courtney Taylor experimenting with some of the Jonestown's hand-me-down tape loop hijinks. This release was laden with more commercial alternative compromises in the overall production, while successfully maintaining the band's signature Moog-gazing jams.
- Eric Shea]]></description>
</item><item>
<title>Placebo</title>
<link>http://www.rhapsody.com/goto?rcid=art.4270&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Pop/Brit Rock</category>
<pubDate>Thu, 26 Nov 2009 11:27:20 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Placebo</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.4270&amp;variant=play&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.4270&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[These young men blend Britpop with sonic noise and hip-shaking glam rock to create something all their own. Androgynous singer Brian Molko sounds a lot like Geddy Lee (he'll deny it, but listen for yourself). Placebo's songs are kinetic and wiry at times, but alternately gritty and rocking in a way last heard when Suede imitated Bowie. When the band uses retrospection as embellishment over their foundation, you hear the true Placebo -- not to say that their version of "20th Century Boy" doesn't rock as hard as Marc Bolan's.
- Eric Shea]]></description>
</item><item>
<title>Thriving Ivory</title>
<link>http://www.rhapsody.com/goto?rcid=art.8990302&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Adult Alternative</category>
<pubDate>Tue, 24 Nov 2009 09:38:53 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Thriving Ivory</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.8990302&amp;variant=play&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.8990302&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Although the first impression of Thriving Ivory comes from the searing falsetto of frontman Clayton Stroope, the big rock ballads written by band mastermind and pianist Scott Jason make him the true architect of the band's sound. Jason recruited Stroope to sing his songs while both were students at UC Santa Barbara. They gained audiences in Northern California after putting together a backing band with a handful of San Francisco Bay Area natives -- guitarist Drew Cribley, bassist Bret Cohune and drummer Paul Niedermier -- and putting together a self-released demo with the help of Jellyfish alumnus Chris Manning. That recording made an immediate impression on radio audiences in San Francisco in 2005, helping the band rise from unsigned hopefuls to phone-in favorites on the strength of a pair of barn-burning modern rockers, "Overrated" and "Angels on the Moon." In 2007 the band signed to Wind-Up, which helped them nab ubiquitous rock producer Howard Benson for their self-titled debut, which was released in June 2008.
- Nate Cavalieri]]></description>
</item><item>
<title>Elbow</title>
<link>http://www.rhapsody.com/goto?rcid=art.36183&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Rock</category>
<pubDate>Thu, 26 Nov 2009 11:27:14 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Elbow</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.36183&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Elbow's grandiose whisper rock is a bit murkier and moodier than any of their Coldplay-aping brethren. The Manchester-based group digs deep into its collective mindset and finds that what's inside is not often pretty. Often sounding desperate and disenchanted, the group continuously rises above the moody malaise by providing redemption via brash climaxes, made vivid through sparkling notes and heavenly choruses.
- Jon Pruett]]></description>
</item><item>
<title>The Kooks</title>
<link>http://www.rhapsody.com/goto?rcid=art.11113636&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Rock</category>
<pubDate>Wed, 18 Nov 2009 13:05:22 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Kooks</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.11113636&amp;variant=play&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.11113636&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Taking their name from a David Bowie track on <i>Hunky Dory</i>, which in turn was a word the Dame was using to describe his infant son, The Kooks risked accusations of cute posing before even playing a note. Not to worry, though; these four Brits from the Brighton Institute of Modern Music proved perfectly capable of living up to their influences. Their finely tuned pop songwriting abilities, all jangly guitars and sing-along lyrics, were immediately apparent with their debut single "Naive," which singer Luke Pritchard claims to have written when he was 16. This hit helped their debut long player, 2006's <i>Inside In/Inside Out</i>, to achieve triple platinum in the UK, with sellout shows following in the US. In 2007 they announced that their pending second album would be produced by Tony Hoffer.
- Nicholas Baker]]></description>
</item><item>
<title>Mika</title>
<link>http://www.rhapsody.com/goto?rcid=art.12188&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Pop</category>
<pubDate>Sun, 15 Nov 2009 11:03:44 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Mika</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.12188&amp;variant=play&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.12188&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Mika's sugary wonderland of gender-bending, campy pop topped with a flawless falsetto has earned him respectable comparisons to the likes of Freddie Mercury, David Bowie and the Scissor Sisters. Born in Beirut as Michael Holbrook Penniman, he moved with his family from Lebanon to Paris and eventually settled in London when he was nine years old. The move proved troubling for him, as he faced bullying at school and the onset of dyslexia. Mika's focus turned to music when he began intense training with a Russian singing teacher, which led to professional performances at the Royal Opera House and advertising gigs for British Airways and Orbit Chewing Gum. He studied classical music at the prestigious Royal College of Music, but dropped out to focus on his career. Mika's first step into the fickle pop world was the release of his single "Relax, Take It Easy," but it was "Grace Kelly," a stab at those who didn't believe in his musical potential, that shot him to No. 1 on the U.K. charts in early 2007. His debut album, <i>Life in Cartoon Motion</i>, soon followed the same chart-topping path.
- Stephanie Benson]]></description>
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<title>Kaiser Chiefs</title>
<link>http://www.rhapsody.com/goto?rcid=art.6774670&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Rock</category>
<pubDate>Sun, 13 Sep 2009 09:19:45 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Kaiser Chiefs</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.6774670</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.6774670&amp;variant=play&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.6774670&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Inspired by Brit icons -- from the Kinks and the Jam to Oasis and Blur -- the Kaiser Chiefs' mod vibe and post-punk hooks quickly grabbed the attention of postmillennial listeners searching for a new brand of old rock. The lads from Leeds took their name from the South African football club Kaizer Chiefs, in honor of former player Lucas Radebe, who also captained the Leeds United team. Although their bopping rockers "Oh My God" and "I Predict a Riot" first released in 2004, their mainstream success came after the re-issues of these singles in 2005, helping bring their critically-praised debut album, <i>Employment</i>, to the masses. The buzz in the U.K. soon spread and the quintet became popular among hipsters digging the newest crop of Brit bands like Bloc Party, Franz Ferdinand and the Futureheads. The Chiefs became known for their energetic performances, opening the 2005 Philadelphia Live 8 concert and appearing at numerous U.K. festivals, earning them a 2006 Brit Award for Best British Live Act. In early 2007, they released <i>Yours Truly, Angry Mob</i>, with lead single "Ruby" reaching No. 1 on the U.K. charts.
- Stephanie Benson]]></description>
</item><item>
<title>Paul Weller</title>
<link>http://www.rhapsody.com/goto?rcid=art.69211&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Rock</category>
<pubDate>Thu, 26 Nov 2009 11:28:45 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Paul Weller</rhap:artist>
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<description><![CDATA[Paul Weller hasn't achieved the same level of fame in the U.S. as he has throughout the rest of the world, but still remains a major force in rock 'n' roll. Now a revered elder statesman in Britain, Weller is the musical equivalent of Martin Scorsese and Steven Spielberg. A rabid student of rock and soul, he transformed a love of 1960s British Invasion and American R&B into highly personal music that pays homage to his influences while transforming them at the same time. A professional since the age of 14, Weller led his outfit, The Jam, to the top of the U.K. charts throughout the late 1970s and early '80s. Weller went on to form The Style Council, a pop act that embraced retro soul, jazz, lounge music, and folk. The act initially found great success (even in the States), but Weller entered the 1990s as a solo act without a record deal and a reputation as yesterday's man. Forging ahead, his first self-titled solo album was a heartfelt affair that embraced 1960s rock and early '70s psychedelic soul to excellent effect. When Weller released <I>Wild Wood</I> in 1993 his career and reputation rebounded, he was re-embraced by the fickle British public and press, and he's only strengthened his position with such fine albums as <I>Stanley Road</I> (1995), <I>Illumination,</I> (2002), and the acoustic career retrospective <I>Days of Speed</I> (which includes updates of Jam and Style Council cuts). Driven, hardworking, and undeniably talented, Paul Weller has released consistently strong and relevant material over the course of four decades. It's hard to think of another artist in pop with a similar track record over an equal span of time.
- Nick Dedina]]></description>
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<title>XTC</title>
<link>http://www.rhapsody.com/goto?rcid=art.42634&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Pop/Brit Rock</category>
<pubDate>Wed, 18 Nov 2009 13:05:22 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">XTC</rhap:artist>
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<description><![CDATA[Years after their first release, XTC still come out bouncing with clever, infectious art-pop. Strummed guitars, vintage keys, snappy rhythms and Andy Partridge's signature multi-layered vocal orchestrations are a treat for new and seasoned fans of British pop.
- Robert Leaver]]></description>
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<title>Frightened Rabbit</title>
<link>http://www.rhapsody.com/goto?rcid=art.16259210&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Indie Pop</category>
<pubDate>Fri, 13 Nov 2009 12:39:06 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Frightened Rabbit</rhap:artist>
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<description><![CDATA[If you want rock stars, go to England. If, however, you crave quirky cult acts, head north to Scotland. Ever since the rise of post-punk in the early '80s, the land of Scots has produced many of the United Kingdom's most beloved underdogs, including Fire Engines, the Pastels, Teenage Fanclub, the Vaselines and Belle & Sebastian. As with all these groups, Glasgow's Frightened Rabbit fuses art school indie pop and stripped down folk-rock, while filtering its influences -- everything from Interpol to Joe Jackson to Thin Lizzy -- through a fragile tenderness and naked earnestness that seems to be uniquely Scottish. While stuttering, manic rhythms and neo-Edge guitar buzzzz fly about his head, Scott Hutchison mumbles very few words that don't take five spins to understand. The dude's thick accent is partly to blame, but Hutchinson also sounds as if he's afraid to make himself easily understood. This only makes sense considering his mom used to call her shy little child a "frightened rabbit" because of the way he would cower in social situations. Obviously that's something Hutchinson has addressed; in 2007 the quartet signed to the ever-hip Fat Cat imprint, also home to Animal Collective, Blood on the Wall and Mice Parade.
- Justin Farrar]]></description>
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<title>The Stone Roses</title>
<link>http://www.rhapsody.com/goto?rcid=art.862&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Pop/Brit Rock</category>
<pubDate>Thu, 26 Nov 2009 11:27:36 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Stone Roses</rhap:artist>
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<description><![CDATA[The roots of the Stone Roses go back to 1980, when John Squire and Ian Brown took a turn playing Mod rock in the band English Rose (named after a Jam song), which by 1985 had morphed into the Stone Roses. The Manchester band released two dark, Goth-leaning singles to underwhelming response, but did manage to get signed by Silvertone in the process. Thanks in part to producer John Leckie, the third single was the charm for the Stone Roses; "Elephant Stone," a lighter, jangly pop song, set the wheels in motion for what would be called the "Madchester" craze. The band's near-flawless debut, released in May 1989, showcased John Squire's love for '60s hooks set to House-inspired beats that defined the "baggy" sound. At least four singles were culled from the band's debut album, and by the end of the summer, the sun was shining on the quartet. Legal troubles with Silvertone meant a five year delay for their follow-up, and when <I>Second Coming</I> was finally released in late 1994, the world was in the throes of Grungemania. The Stone Roses limped along as member after member left, until finally packing it in late 1996.
- Linda Ryan]]></description>
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<title>Aqualung</title>
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<category>Brit Rock</category>
<pubDate>Sun, 22 Nov 2009 10:09:54 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<description><![CDATA[Matt Hanes grew up above his parent's record shop and was playing piano and
writing songs by the age of four. Not surprisingly, he was awarded a scholarship to study music composition when he was 16; by the next year, he was conducting a 60-piece orchestra. When Hanes finished up his studies, he formed a band with his brother Ben. Dubbed Ruth, the band signed to a major label and released the album, <I>Harrison</I> to favorable reviews and airplay support from the omnipresent BBC Radio 1. However, the band was wracked by continuous in-fighting, and imploded. A mere 18 months later, in 2000, Matt and Ben are signed once again, this time under the moniker The 45's. The brothers released two well-received singles and toured with the likes of Cooper Temple Clause and the Electric Soft Parade. Once again, they failed to ignite and it wasn't long before Hanes decided to try his luck as a solo artist. Embracing his classical past, Hanes kept busy writing songs, submitting tunes to an ad agency who were looking for music for a forthcoming Volkswagon commercial. That television commercial reached millions, and drove patrons into music stores all over the U.K. trying to buy "that song" in the Volkswagon commercial. The BBC's Radio 1 jumped on the bandwagon, creating even more of demand for more of Hale's music, and in 2002, Aqualung was born. For his part, Hanes was happy to turn that 30-seconds of pop perfection into his debut album, <I>Strange and Beautiful</I>. Aqualung's second effort, <I>Still Life</I>, was released in the U.K. in early 2004. By the following year, Hales had an America deal and released an album (also called <I>Strange and Beautiful</I>) which combined songs from their two
U.K. releases for the United States.
- Linda Ryan]]></description>
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<title>Stereophonics</title>
<link>http://www.rhapsody.com/goto?rcid=art.7793&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Rock</category>
<pubDate>Wed, 8 Jul 2009 13:07:15 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<description><![CDATA[A band that rocks more than they pop, Sterophonics still seem to have an uncanny knack at getting both right: well-written songs rife with hooks and energy and a singer whose Rod Stewart-esque voice can belt out a clever lyric and catchy melody line.
- Will Lerner]]></description>
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<title>Travis</title>
<link>http://www.rhapsody.com/goto?rcid=art.274&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Rock</category>
<pubDate>Fri, 20 Nov 2009 12:50:55 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<description><![CDATA[Named for Harry Dean Stanton's catatonic character in the cult classic <I>Paris, Texas</I>, Travis came on to the British music scene like...well, like any other British band. Oversized quotes about Travis being the best band in the world read like pop culture deja vu in the British weeklies, but after Travis' 15 minutes were up, the band refused to go away. They strayed away from the Oasis/Slade sound and spent a while approximating Thom Yorke's crew before birthing their own infectious (and less heady) brand of guitar pop. The songs are well written and even crafty at times, but still sometimes reminiscent of Radiohead's former formula of catchy radio pop (don't think beyond <i>The Bends</i>).
- Eric Shea]]></description>
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<title>Glasvegas</title>
<link>http://www.rhapsody.com/goto?rcid=art.15606161&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Pop/Brit Rock</category>
<pubDate>Thu, 8 Oct 2009 11:44:54 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<description><![CDATA[Ears attuned to British inflection might be able to place Glasvegas to rough-talking Glasgow; specifically the band hails from Dalmarnock, an industrial Glaswegian suburb. The band's sound largely rests on the big guitars and sentimental melodies of brothers James and Rab Allan (the band's singer/rhythm guitarist and its lead guitarist, respectively) who are supported by bassist Paul Donoghue and drummer Caroline McKay. They started playing gigs in Glasgow starting in 2000, though didn't release any recorded material until October 2006, when they self-issued a limited edition 7-inch single of "Go Square Go!" A second single, "Daddy's Gone," was issued a year later and brought the band into the spotlight of the British press (<i>NME</i> named the song one of 2007's best). In early 2008 they signed with a major and set to work recording an eponymous debut album, which compiled a number of their U.K. singles and was released internationally in fall 2008.
- Nate Cavalieri]]></description>
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<title>Pulp</title>
<link>http://www.rhapsody.com/goto?rcid=art.36189&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Pop/Brit Rock</category>
<pubDate>Wed, 26 Aug 2009 10:39:56 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<description><![CDATA[Although not a contender for "British Band of the Millennium" -- let Oasis and Blur argue over that mantle -- Pulp is easily one of the most diverse and dedicated bands on that side of the pond to (struggle to) make it big. Led by charismatic and chameleon-like Singer-Songwriter Jarvis Cocker, Pulp have undergone multifarious changes in their twenty-one-year career, but there have been some consistent points along the way. On any given album, you'll find Cocker singing in his lovely, Bowie-based baritone behind which a piano, synths, and mid-tempo bass, guitars and drums create a pretty, sad and subtle ballad. It's hardly indicative of all their material, though -- on the song "Countdown," for instance, electronic drums and synths create Alt-Dance music that aligns the band more with Depeche Mode than with other rock groups. And then there are the finely-crafted, well-written Glam rockers: no holds are barred, and every instrument plus the kitchen sink writhes in wonderful musical bombast, almost an anthem with strong hooks and melodies and Cocker's voice rising and falling, emoting and sneering, ironic and vulnerable, leading the fray to pop heaven. Pulp may not be challenging Oasis for the Brit God throne; truth is, they don't need to.
- Will Lerner]]></description>
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<title>Starsailor</title>
<link>http://www.rhapsody.com/goto?rcid=art.55122&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Rock</category>
<pubDate>Sun, 22 Nov 2009 10:09:56 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<description><![CDATA[Although Starsailor took their name from the title of a 1970 Tim Buckley album, they're usually compared to Radiohead. Like Buckley and Radiohead's Thom Yorke, Starsailor frontman James Walsh employs an emotive, multi-octave vocal style that drips with hope, longing and despair. Formed in Chorley, England, Starsailor played their first London show in April 2000. The concert evoked an immediate reaction, and they were signed to EMI a few months later. The band's first single, "Fever," generated acclaim in the U.K., but it was its follow-up, the stunning "Good Souls," that proved Starsailor were more than just Radiohead lite. The group cemented that reputation in the U.K., at least -- on their full-length debut, 2002's <I>Love Is Here</I>. The band made inroads in the U.S. via a mini tour with the Doves and then again on their own, but they have yet to break out beyond the college and Anglophile markets.
- Linda Ryan]]></description>
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<title>Stellastarr</title>
<link>http://www.rhapsody.com/goto?rcid=art.67228&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Post-Punk</category>
<pubDate>Thu, 26 Nov 2009 11:27:54 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<description><![CDATA[Stellastarr formed at an art school in Manhattan in 2000. Following a succession of club shows, the band began to gain a reputation for moody, mopey and yet highly energetic pop music. With a sound that harkens back to the glory days of early alternative music (think the Smiths, Jesus & Mary Chain) and a slightly Pixies-esque tendency to shriek, the band started making waves in a town already filled with wave-makers. Stellastarr's persistence and strong live performances saw them rise to the top of the haircut brigade. In 2003, they cut their first major label deal and released a self-titled debut album.
- Jon Pruett]]></description>
</item><item>
<title>James</title>
<link>http://www.rhapsody.com/goto?rcid=art.5353&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Pop/Brit Rock</category>
<pubDate>Thu, 19 Nov 2009 15:23:14 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<description><![CDATA[Throughout the late 1980s, James were both praised and dismissed for their striking resemblance to jangle pop kings the Smiths. And certainly, the band's outspoken pro-celibacy/anti-drugs stance didn't endear them to music journalists, many of whom were experiencing the drug-propelled rapture of Manchester's rave revolution firsthand. Eventually, however, James expanded their ranks, adding a trumpet player, violinist and keyboardist, and entered the new decade as a seven-piece. The "new and improved" band released <I>Gold Mother</I> to lukewarm reviews, but hidden among the tracks was the loping gem "Sit Down," which struck a chord with James' swelling legion of fans and became their signature tune. Writers were shocked when audiences (T-shirted punters from both the Indie Kid and Crusty camps) actually <I>sat down</I> when the song was played live, and journalists grudgingly gave the band some respect. In the UK, frontman Tim Booth and co. were bona fide stars, headlining major European festivals and holding their own in the charts. In America, the band's big break came when MTV picked up the whirling, gender-bending single "Laid." Although James had developed a substantial fan base in the US, they weren't able to capitalize on the momentum of "Laid," and despite a catalog of hit-worthy songs, many Americans see James as one hit wonders.
- Linda Ryan]]></description>
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<title>The Style Council</title>
<link>http://www.rhapsody.com/goto?rcid=art.38147&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Blue-Eyed Soul</category>
<pubDate>Wed, 4 Nov 2009 12:13:48 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Style Council</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.38147&amp;variant=play&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.38147&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Soon after Paul Weller disbanded the Jam, he formed the Style Council with keyboardist Mick Talbot. The duo initially wanted to explore organic pop music outside of guitar rock including soul, jazz, and folk. The band hit the ground running with a string of hit singles such as "The Long Hot Summer," "Speak Like a Child," and "A Solid Bond in Your Heart." The Style Council even found the stateside success that had always eluded the Jam when "My Ever Changing Moods" and "You're the Best Thing" rode up the U.S. charts. Weller was so re-invigorated during the Style Council's early period that many of his best songs appeared on their first two albums and on a flood of E.P.s and non-album singles. But even as the band's sound was beefed up by the addition of drummer Steve White and singer D.C. Lee, the Style Council's output become spottier and more tied to contemporary R&B and dance music. Weller was still penning some fine pop tracks during this period but he disbanded the Style Council in 1989 and he returned to soulful guitar rock for his highly successful solo career.
- Nick Dedina]]></description>
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<title>Supergrass</title>
<link>http://www.rhapsody.com/goto?rcid=art.38148&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Pop/Brit Rock</category>
<pubDate>Wed, 26 Aug 2009 10:39:56 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Supergrass</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.38148&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Supergrass are one of the few bands to survive -- and thrive beyond -- the mid-1990s Brit pop revival. Coming from peaceful Oxford, England, the teenage band hit the ground running, scoring high placements on British charts with their initial singles, which pointed the way for their 1995 debut, <I>I Should Coco</i>. The album revealed the band's knack for channeling the sound and spirit of '70s pop punk of acts like the Buzzcocks, the Undertones and the Jam while remaining connected to the original '60s British Invasion scene. <I>I Should Coco</i>'s upbeat energy, unstoppable good spirits and contagious sense of fun stood in stark contrast to the cynically maudlin, generic teen angst alt rock wares being peddled to teenagers by the American post-grunge and rapcore scenes. This was music for sharing with friends and going out and celebrating, not holing up in your room. 1997's <i>In It For the Money</i> found the group taming (though not deleting) the blazing punk tempos of their first phase and further exposing the Beatles/Kinks/Badfinger accents and soaring power pop melodies at the heart of so many of their songs. While this was closer in style to what Oasis was doing at the same time, the fact that Supergrass were continuing to grow past their contemporaries was supported by their third, self-titled release. The LP earned FM radio play for the infectious Stones-go-glam track "Pumping on Your Stereo" and the album opener, "Moving," which builds ever upward from its best-U2-song-in-ages intro. 2002's <i>Life on Other Planets</I> was Supergrass' "great leap forward," containing all their '60s and '70s influences (with an even greater focus on Badfinger) and positive energy but tempering them with a greater interest in experimenting with song structure, texture and instrumentation. While 2004's "best of" retrospective, <i>Supergrass Is 10</i>, reminded everyone how good their entire back catalog is, the next year's <i>Road to Rouen</i> showed that the group could go as mid-tempo, reflective and bittersweet as the best of them. Supergrass now display an even deeper connection with their initial musical heroes (Lennon/McCartney, Ray Davies, Paul Weller, and Petes Hamm and Shelley), without diminishing their own identity.
- Nick Dedina]]></description>
</item><item>
<title>Buzzcocks</title>
<link>http://www.rhapsody.com/goto?rcid=art.4005&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Punk</category>
<pubDate>Thu, 26 Nov 2009 11:27:32 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Buzzcocks</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.4005&amp;variant=play&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.4005&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Led by the perenially heart-broken Pete Shelley, the Buzzcocks took the angst and anxiety that punk thrived on and, instead of aiming their fully loaded guitars at everything around them, made implicitly self-mocking songs cut with a heavy dose of wry wit. Backed by the ringing guitars of Steve Diggle, the frenetic drumming of John Maher and the even-keeled bass of Steve Garvey, Shelley made light of adolescent troubles and adult love woes, offering self-deprecating lyrics to unrequited loves and explicitly frank tales of teenage sexual discovery. "Ever Fallen In Love (With Someone You Shouldn't've?)," and "Everybody's Happy Nowadays" expressed the desperation of failed relationships and disillusionment with love, while "Orgasm Addict" needs no explanation. And on "I Don't Mind," a nasal-voiced Pete Shelley remarked, "...Everything I see/Just makes me feel you're putting me down/And if it's true this pathetic clown'll/Keep hanging around/That's if you don't mind/I don't mind." The Buzzcocks are one of the smartest, most influential bands in punk, and their music sounds as relevant and impossibly perfect now as it did 20 years ago.
- Kali Holloway]]></description>
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<title>Spiritualized</title>
<link>http://www.rhapsody.com/goto?rcid=art.1103&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Space Rock</category>
<pubDate>Sun, 22 Nov 2009 10:09:34 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Spiritualized</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1103&amp;variant=play&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.1103&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Following the demise of Spacemen 3, Jason Pierce went to work and almost immediately put together Spiritualized (an always changing ensemble that blend dream pop with rock 'n roll). From 1992's <i>Lazer Guided Melodies</i> to 2001's <i>Let It Come Down</i>, Pierce has tripped up his music with grand, sweeping orchestral arrangements, droning vintage music gear from the '60s, cascading walls of swelling gospel harmonies, and songs about lost love and chemical dependency.]]></description>
</item><item>
<title>Big Audio Dynamite</title>
<link>http://www.rhapsody.com/goto?rcid=art.37423&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Alt Dance</category>
<pubDate>Thu, 24 Sep 2009 09:49:05 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Big Audio Dynamite</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.37423&amp;variant=play&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.37423&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Adding catchy samples to simple mixes of basslines, drumbeats and rock 'n' roll, Big Audio Dynamite charmed Top 40 listeners in the U.S. with an unforgettable brand of feel-good alt dance. Ex-Clash singer/lead guitarist Mick Jones formed the five-piece band in the mid-1980s, adding dance tracks and samplers to traditional pop song arrangements. At the end of the decade, the original members disbanded and Jones formed Big Audio Dynamite II. Their greatest commercial achievement was the pop-friendly chart-topper "Rush."
- Melissa Piazza]]></description>
</item><item>
<title>The Last Shadow Puppets</title>
<link>http://www.rhapsody.com/goto?rcid=art.19983973&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Baroque Pop</category>
<pubDate>Mon, 3 Aug 2009 09:33:53 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Last Shadow Puppets</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.19983973</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.19983973&amp;variant=play&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.19983973&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[The Last Shadow Puppets is a side project from Alex Turner (Arctic Monkeys) and Miles Kane (the Little Flames and the Rascals) that came about when they found themselves obsessively listening to the spaghetti western-fueled dramatic pop of Scott Walker and his band the Walker Brothers. In 2008, the two wrote a terrific batch of melodramatic, retro-flavored pop songs and worked with arranger Owen Pallett (Arcade Fire, Beirut, the Hidden Cameras) to come up with their debut album, <I>The Age of Understatement</I>. The album earned strong reviews in Britain, and the band showed that they could rock a string section with an energetic live show.
- Nick Dedina]]></description>
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<title>Editors</title>
<link>http://www.rhapsody.com/goto?rcid=art.8858182&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Post-Punk</category>
<pubDate>Fri, 9 Oct 2009 10:32:50 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Editors</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.8858182</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.8858182&amp;variant=play&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.8858182&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[In the post-Oasis Brit rock environment, one of the worst things an aspiring indie rock band could be was educated to degree level -- evidenced as late as 2005 by Liam Gallagher describing Bloc Party as "a band off [U.K. student quiz show] <I>University Challenge</I>." Not that this seems to have fazed Editors, who have no qualms about discussing their formation at Staffordshire University, a distinctly unfashionable seat of higher education. They also remain undaunted that they're firmly domiciled in Birmingham, England's out-of-favor second city. Indeed, these resolutely anti-hipster, anti rock 'n' roll stances have possibly fired alienated hearts with enthusiasm for their bleak, driving and remorselessly serious take on jerky, Joy Division-inspired post-punk. Signing to Newcastle label Kitchenware in late 2004, Editors scored a neat PR coup by selling out their first single, "Bullets," in only 24 hours -- a remarkable feat, until you learn that just 500 singles were pressed up. However, the band's rise was firmly fixed when "Munich," their second single, catapulted them into the UK Top 30. That set the scene for "Blood," their propulsive follow-up single, (which went Top-20) and their debut album, <I>The Back Room</I>. Finally unleashed on the US in March 2006, Editors now look poised to inject a strong dose of old country goth into the sunny States: What price on them becoming the new Cure?
- Jamie Dolling]]></description>
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<title>The Libertines</title>
<link>http://www.rhapsody.com/goto?rcid=art.65770&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Garage Rock Revival</category>
<pubDate>Wed, 26 Aug 2009 10:39:56 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Libertines</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.65770&amp;variant=play&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.65770&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[The Libertines' music celebrates the Class of '77 (the Clash's Mick Jones produced their 2002 debut) with abandon, while also tossing in nods to the romantic melodicism of everyone from the Smiths to the Strokes. On their best moments, however, they play something wholly their own: relentlessly poppy punk rock, seething with wit and spittle. The group succeeds by avoiding polish, instead keeping the guitars ragged and rough, delivering a good time for those who prefer their knees up and jackets leathered.
- Jon Pruett]]></description>
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<title>Maccabees</title>
<link>http://www.rhapsody.com/goto?rcid=art.6065187&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Indie Pop</category>
<pubDate>Tue, 17 Mar 2009 20:33:40 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Maccabees</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.6065187</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.6065187&amp;variant=play&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.6065187&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[As quick an education on the subject of the Maccabees can be gleaned from their hit "Latchmere." The tune refers to the leisure centre in Battersea, London, where the boys learnt to swim -- which, it seems, has a wave machine. Their quirky, irreverent take on songwriting packs quite a punch, even if resorts to the cheeky than some of the more "serious" transatlantic indie acts (the Futureheads, Bloc Party, Franz Ferdinand, etc.). Dedicated Anglophiles may be interested to learn that the band describe themselves as being from Brighton via South London, which suggests a niggling desperation to be associated with the capital as opposed to the defiant provincialism that set Arctic Monkeys apart from the pack.
- Jamie Dolling]]></description>
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<title>Elastica</title>
<link>http://www.rhapsody.com/goto?rcid=art.3412&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Pop/Brit Rock</category>
<pubDate>Mon, 17 Aug 2009 09:15:00 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Elastica</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.3412&amp;variant=play&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.3412&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[So they used to rip off Blondie and Wire at the same time. Elastica don't sound the same anymore; they're a different band now. You wouldn't call Jamie Summers the same woman after Oscar Goldman made her a bionic fighting machine, would you? The band was first introduced to America in a seemingly contrived U.K. media package touting them as leaders of a scene called the New Wave of New Wave. When they lost bass player Annie Holland and then guitar-nymph Donna Matthews, singer (and founder) Justine Frischmann added friend Paul Jones on the guitar and two new keyboard players named Dave Bush and Mew. Holland recently returned, and now their sound is much less predictable. The music morphs from cold, synthesized orchestras closing in on a heartbeat to wiry, stuttered pop car crashes, then moves on to the mechanical rhythms of well-bastardized beats. The singing at first seems distant, but is actually just standoffish in a can't-be-bothered-in-my-drug-haze way. Some of the most innovative stuff to come out of the U.K. since Primal Scream's <i>Vanishing Point</i>.
- Eric Shea]]></description>
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<title>The Veils</title>
<link>http://www.rhapsody.com/goto?rcid=art.68033&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Rock</category>
<pubDate>Fri, 25 Sep 2009 10:14:33 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Veils</rhap:artist>
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<description><![CDATA[As the son of Barry Andrews (XTC, Shriekback), Veils' frontman Finn Andrews grew up heavily influenced by music. But life changed for him as a young boy: he and his mother moved New Zealand, where music became his means of escape. At 17, Andrews left school, and Auckland, and moved back to London. He eventually met up with Oliver Drake (guitar), Adam Kinsella (bass), and Ben Wollacott (drums), and the Veils were born. The band signed to U.K. indie Blanco Y Negro, but things between the band and the label became strained, and a court battle ensued. The Veils won the battle and were allowed to keep their recordings. Geoff Travis of Rough Trade then signed them to his label, which released <I>The Runaway Found</I> in 2004.
- Linda Ryan]]></description>
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<title>Super Furry Animals</title>
<link>http://www.rhapsody.com/goto?rcid=art.7603&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Pop/Brit Rock</category>
<pubDate>Fri, 23 Oct 2009 11:55:30 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<description><![CDATA[For years, British bands have been trying to successfully merge Techno beats with Indie Rock. Super Furry Animals may not have been the first to try this, but they were definitely one of the very few that made sense of this hybrid. That the synthesized additions aren't an up-front and obvious addition to their music might be one reason why SFA pull it off with such effortless style. But it might also be the chemistry of players and their diverse musical tastes -- this quirky quintet sing in their native Welsh tongue (and English, as well) and blend an always unpredictable slew of sounds (dependent on their ever changing moods) that contribute toward a personalized psychedelic pop collage. Besides big beats, they have been known to incorporate Steely Dan samples, Prog injections, Punk riffs, Calypso drums, and whatever else seems to contrastingly complement the strong songwriting.
- Eric Shea]]></description>
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<title>Charlatans U.K.</title>
<link>http://www.rhapsody.com/goto?rcid=art.8090&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Pop/Brit Rock</category>
<pubDate>Tue, 18 Aug 2009 18:09:31 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.8090&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Running from their foundations in Madchester ravadelia to the current media infatuation with Brit pop, The Charlatans have produced dreamy, lilting songs that scale European rock traditions. A dense wash of creamy psychedelic guitars accented by warm organ vibrations and beautiful vocal harmonies, their sound is at once nostalgic for the peak of the British Invasion and sits atop the summit of Madchester's psychotropic excesses. Their greatest successes are in their most melancholic songs as great swells of instrumentation sweep emotive vocals upward into a hopeful light.
- Marc Kate]]></description>
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<title>World Party</title>
<link>http://www.rhapsody.com/goto?rcid=art.6761&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Adult Alternative</category>
<pubDate>Fri, 4 Sep 2009 10:46:33 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.6761&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[As the Waterboys gravitated closer and closer to introspective, seafaring folk music, keyboardist Karl Wallinger left to form World Party in 1985, an outlet for his pop-oriented ideas. Coming from a background soaked in psychedelia, Wallinger's music has always adhered to proper song structure and '60s ideals without being overtly hippie-ish. Hits like "Ship of Fools," "Way Down Now," and "Put the Message in the Box" show his knack for sublime melodies and explosive pop, which gets more refined with each release.
- Jon Pruett]]></description>
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<title>Manic Street Preachers</title>
<link>http://www.rhapsody.com/goto?rcid=art.505&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Rock</category>
<pubDate>Thu, 10 Sep 2009 12:14:32 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.505&amp;variant=data&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Wales' most successful pop export since Tom Jones started draping panties over his microphone stand, Manic Street Preachers have drastically altered their sound over the course of their lengthy career. Without sacrificing one iota of their grandiose musical ideal, the trio of childhood friends has achieved extraordinary commercial and critical success, particularly in light of the mysterious and well-chronicled 1995 disappearance of guitarist/band figurehead Richey James. Where once there were slick, pounding drums, synth flourishes and confrontational, buzzing guitars ("Motorcycle Emptiness," "Faster"), there are now organic drum textures, epic string arrangements and sweet guitars ("A Design For Life," "My Little Empire"). Once merely a cult band with a rabidly intense fan base, the Manics had become the biggest band in the non-North American universe by millennium's end, eclipsing their more pop-focused Brit brethren Oasis and Blur in popularity and critical accolades with the era-defining albums <i>Everything Must Go</i> (1996) and <i>This Is My Truth Tell Me Yours</i> (1998).
- Charles Hodgkins]]></description>
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<title>The Wombats</title>
<link>http://www.rhapsody.com/goto?rcid=art.12090935&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss</link>
<category>Brit Pop/Brit Rock</category>
<pubDate>Sat, 18 Jul 2009 11:11:54 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<description><![CDATA[Not to be mistaken for the marsupials of Australian descent, these Wombats originated in 2003 when they were enrolled at Sir Paul McCartney's Liverpool Institute for Performing Arts. The trio chose to follow a familiar lineage of U.K. bands who prefer to pass the dreary England days playing snarky, spiky, dancy pop-punk. Like the Arctic Monkeys, Kaiser Chiefs, Franz Ferdinand and Art Brut, the Wombats use rebellious humor to coincide with their woozy, high-energy riffs. Their first single, "Lost in the Post," was released in 2006 and helped garner them a sizable following that was good enough to earn them the honor of being the first unsigned act to sell out Liverpool's Carling Academy. They subsequently were signed to 14th Floor Records and released their debut album, <I>A Guide To Love, Loss & Desperation</I>, soon after.
- Stephanie Benson]]></description>
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<title>Richard Ashcroft</title>
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<category>Brit Rock</category>
<pubDate>Sun, 22 Nov 2009 10:09:51 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=129&amp;rws=%2Falt-punk%2Fbrit-pop-brit-rock%2Fartist-chart.rss">Top Brit Pop/Brit Rock Artists on Rhapsody Online</source>
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<description><![CDATA[When you have an ego as large as Richard Ashcroft's, it's impossible not to put out solo material. Not that his ego is a bad thing, mind you. The ex-frontman for Wigan, England's the Verve has always been somewhat of a visionary. He once told a journalist that when he was eleven years old and the other kids were playing with action figures, he was more concerned with contemplating life and death. Ashcroft's lyrics dive headfirst into the spiritual and the subconscious -- it is refreshing that he is not afraid to expose the raw nerves of unconditional love and relationships between people. This is what has always put him light years ahead of Noel Gallagher, Ian Brown, Damon Albarn or any of his so-called contemporaries. With the release of his first solo album <i>Alone With Everybody</i>, Ashcroft unleashes musical spirituality by injecting something usually not present in most commercial music: human soul and musical numinousness. With sweeping, swirling love songs such as "You On My Mind In My Sleep," Ashcroft forgoes the ego and exposes his heart in the company of otherworldly guitar drones, string accompaniment and weeping pedal steel notes. It is here the listener realizes that this man's forte is the love song. Even on the more up-tempo (and Pro Tools-laden) hits such as "Come On People (We're Making It Now)" and "I Get My Beat," we find Ashcroft confident and triumphant in his amorous temper. His songs reveal a young man who is completely enamored with the shortness of life and the time we have to live it.
- Eric Shea]]></description>
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