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<title>Top Post-Hardcore Artists on Rhapsody Online</title><link>http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1046&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss</link><description>Top Post-Hardcore Artists on Rhapsody Online</description><category>Post-Hardcore</category><language>en</language><ttl>720</ttl><pubDate>Mon, 30 Nov 2009 22:46:25 -0800</pubDate><image>
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<title>Top Post-Hardcore Artists on Rhapsody Online</title>
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<title>Thrice</title>
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<category>Emo/Hardcore</category>
<pubDate>Wed, 4 Nov 2009 12:13:48 -0800</pubDate>
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<description><![CDATA[Formed in Irvine, California, by fellow skate kids, Thrice are a post-hardcore emo band interested in pushing the boundaries of the genre; a fact they have made evident through five releases since coming together in 1999. Signed to Island Records in 2003, the band had a strong following in place after a number of tours and indie releases. The records they've put out on Island found them playing with regular emo expectations by adding electronic elements and even more ambitious song structures and subject matter. Their 2005 album, <I>Vheissu,</I> is like a sci-fi record with sensitivity, with a title based on a book by Thomas Pynchon and featuring some pretty fancy cover art. Not your run-of-the-mill emo here.
- Mike McGuirk]]></description>
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<title>Fugazi</title>
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<category>Punk</category>
<pubDate>Fri, 20 Nov 2009 12:50:55 -0800</pubDate>
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<description><![CDATA[Often recognized more for their anti-corporate stance and rigid ethics than their vital music, it's easy to forget Fugazi are a band and not a socioeconomic public action committee or a guerilla marketing firm. Though some would argue their newfound introspective temperament signifies a major departure, the beautiful, orchestrated constructs of their more recent material may simply represent a blossoming of the seeds planted by their legendary, dissonant <I>13 Songs</I>. Ian MacKaye's Hardcore bellow and Gibson SG marched alongside Guy Piccioto's (formerly of Rites of Spring) demonic rasp and flailing Rickenbacker, serving notice to Punk's intelligentsia under the watchful eye of a razor-sharp, self-editing rhythm section. Six subsequent albums have shown Fugazi's continually evolving ear for sonic craftsmanship; writing and producing works that owe an equal amount to the Beatles and Radiohead as they do Gang of Four and AC/DC. Having reached a certain state of maturation, Fugazi have, to their credit, perhaps given themselves over to musical craft rather than live famously in direct contradiction to a self-made identity.]]></description>
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<title>At the Drive-In</title>
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<category>Emo/Hardcore</category>
<pubDate>Tue, 17 Mar 2009 20:32:14 -0700</pubDate>
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<description><![CDATA[The upshot of fiery, high-energy live shows and a cool, intelligent aesthetic, At the Drive-In have earned huge underground success the old-fashioned way -- by touring. You're swept into their attack from their opening chords, and their crushing, blissful wall of Punk doesn't let up until the closing notes. Searing to pristinely melodic guitars, a vocalist that does the role justice, and severe rhythms do more than mingle -- they combust. Coupled with razor-sharp melodies and perfectly executed dynamics, they haven't substituted fashion for substance here, either -- refer to a trillion sharp-dressed revivalists for that. Rather, At the Drive-In legitimize the underground for the beeline to success it grants a precious few.
- Kelly Bauman]]></description>
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<title>He Is Legend</title>
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<category>Post-Hardcore</category>
<pubDate>Sat, 31 Oct 2009 11:42:54 -0700</pubDate>
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<title>Jawbreaker</title>
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<category>Indie/Alternative</category>
<pubDate>Sat, 15 Aug 2009 11:04:32 -0700</pubDate>
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<description><![CDATA[Over the course of their ten-year, four album career, San Francisco's (via New York) Jawbreaker burned through some of the most agitated, fiery Punk-Pop of the '90s. Guitarist/lyricist Blake Schwarzenbach's searing, feedback-laden octaves careened through the rhythm section's compelling stop-and-roar arrangements; his struggling voice barking out some of the sharpest lyrics of the call to swords Post-Punk generation. Intensely hardworking, Jawbreaker's years of touring and independent minded business practice culminated in an alleged million dollar contract with Geffen and their final release, <i>Dear You</i>. A disappointment commercially, <i>Dear You</i> was arguably their greatest achievement, offering sleek, aggressive songs with some of the most devastating lyrics ever set to tape.]]></description>
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<title>Hot Water Music</title>
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<category>Emo/Hardcore</category>
<pubDate>Fri, 27 Nov 2009 10:25:37 -0800</pubDate>
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<description><![CDATA[Bridging the gap between traditional Punk, hardcore and Emo, Hot Water Music create a dynamic that's built upon the former two, while adding emotive lyrics resembling the latter. The pace is unforgiving, as holes are filled with cymbal crashes and rolls that seem effortless over the chugging bass lines. Guitars surge forward with intensity and flanged-out distortion when given the chance. Gruff vocals are almost Hardcore, but their delivery is tamed to show a more intimate side.]]></description>
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<title>Shudder To Think</title>
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<category>Post-Punk</category>
<pubDate>Wed, 18 Nov 2009 13:05:58 -0800</pubDate>
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<title>Quicksand</title>
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<category>Hardcore</category>
<pubDate>Wed, 13 May 2009 12:17:28 -0700</pubDate>
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<title>Dag Nasty</title>
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<category>Emo/Hardcore</category>
<pubDate>Fri, 23 Oct 2009 11:55:14 -0700</pubDate>
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<description><![CDATA[Minor Threat bass player Brian Baker formed Dag Nasty with ex-DYS vocalist Dave Smalley after the demise of Minor Threat. This band took a decidedly melodic turn, the guitars slowing markedly over the years, and crunching out smartly crafted songs that reached far beyond simple hardcore riffs. Smalley left the band shortly after their first LP was released, but his soft yet forceful, almost spoken vocal style was picked up by each successive singer. Dag Nasty garnered cult status almost from the beginning, never quite making it big but leaving a lasting impression on the Hardcore scene, as a legion of kids were drawn to more thoughtful, less aggressive music that they still considered Hardcore. Their fiery melodic influence can still be heard 10 years later in countless Emo and Post-Punk bands.
- Mark Murrmann]]></description>
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<title>Naked Raygun</title>
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<category>Punk</category>
<pubDate>Tue, 8 Sep 2009 08:37:45 -0700</pubDate>
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<description><![CDATA[If, as a teenager, the walls of your room were covered with fliers, your "barber" was a set of Oster clippers under the sink, and all you really wanted to be in life was the last S.O.B. standing in the mosh pit that Friday night, then chances are you listened to Naked Raygun. No other album in American Hardcore sounds a more urgent call to arms than Naked Raygun's classic <I>Throb Throb</I> (1984). Containing two brilliant indictments of the Reagan-era status quo -- "I Don't Know" and "Only in America" -- <I>Throb Throb</I> also dwelled on themes of militarism, displaying a fascination with violence and a sense of subversive parody. Like fellow Windy City dwellers Big Black, NR's menace was attenuated by a cynicism so subtle only the "in" set noticed. <I>All Rise</I> (1985) and <I>Jettison</I> (1987) were also instant classics, highlighted by John Haggerty's avalanching guitars. For bringing together berserker rage and drill-team precision, no band was a match for the Raygun.
- Chad Driscoll]]></description>
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<title>Boy Sets Fire</title>
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<category>Emo/Hardcore</category>
<pubDate>Thu, 1 Oct 2009 11:36:21 -0700</pubDate>
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<description><![CDATA[Like so many Hardcore bands, Boy Sets Fire are moving away from their metal-tinged Hardcore past. Their songs have become slower, with more delicate melodies than screaming anger. Despite this evolution in sound, they're still highly politically motivated. Emo anthems for <I>The Nation</I>-reading (post) Hardcore kids.
- Mark Murrmann]]></description>
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<title>Rocket from the Crypt</title>
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<category>Post-Hardcore</category>
<pubDate>Mon, 30 Nov 2009 10:01:07 -0800</pubDate>
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<description><![CDATA[RFTC are punk's first music revue. Using terse lyrical content and blasts of distorted guitar as ringleaders, the band fills in the sideshow aspect of their music with a rockin' soul horn section and a myriad of influences as widespread as rockabilly and the MC5. The San Diego sextet is widely known for their incendiary live performances, complete with an abundance of both sheer noise and old-fashioned showmanship. RFTC grind out their torrid songs like a mid-'60s Garage Punk band -- noisy, ramshackle, and teetering on the edge of reckless abandon.
- Mark Murrmann]]></description>
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<title>Chavez</title>
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<category>Indie/Alternative</category>
<pubDate>Tue, 17 Mar 2009 20:34:12 -0700</pubDate>
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<description><![CDATA[One of Indie Rock's greatest acts, Chavez went quietly unnoticed until their demise following <i>Ride the Fader</i> (1996). However, they raised the bar for droves of math-by-way-of-melody aspirants in their short career, blending simple, atonal, and de-tuned electrics with a remarkably sharp and self-editing rhythm section. Bassist Mike Hoskins helped define his instrument's role, sparsely yet creatively writing in both high and low registers. Singer-guitarist Matt Sweeny also showed equal penchants for innovation and kinetic melody, writing instantly memorable, impossible-to-replicate hooks and arranging his parts with a keen, discerning eye. Rather than beating a chorus to death, Sweeny and company avoided redundancy and kept a leash on the stadium rock -- a brilliant quality that brought a new generation of pop musicians to indie/progressive, and vice-versa.
- Kelly Bauman]]></description>
</item><item>
<title>Children</title>
<link>http://www.rhapsody.com/goto?rcid=art.9370299&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss</link>
<category>Thrash/Speed Metal</category>
<pubDate>Thu, 21 May 2009 12:59:33 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1046&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss">Top Post-Hardcore Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Children</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.9370299&amp;variant=data&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss</rhap:data-href>
<description />
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<title>Black Dice</title>
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<category>Experimental</category>
<pubDate>Thu, 22 Oct 2009 13:23:54 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1046&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss">Top Post-Hardcore Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Black Dice</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.9476&amp;variant=data&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Continuing in the destructo-core tradition popularized by the early work of D.C. Hardcore band Void, Providence's Black Dice pummel their audience with blistering, frantic Punk. Psychotic, aggressive flailing, head-splitting feedback, and violent microphone (and audience) punishment create an atmosphere as disturbing as it is electrifying.
- Doug Russell]]></description>
</item><item>
<title>ENDLESS HALLWAY</title>
<link>http://www.rhapsody.com/goto?rcid=art.10964608&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss</link>
<category>Alt/Punk</category>
<pubDate>Fri, 29 May 2009 09:34:21 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1046&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss">Top Post-Hardcore Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">ENDLESS HALLWAY</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.10964608&amp;variant=data&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss</rhap:data-href>
<description />
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<title>Unwound</title>
<link>http://www.rhapsody.com/goto?rcid=art.7146&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss</link>
<category>Noise Rock</category>
<pubDate>Tue, 17 Mar 2009 20:33:51 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1046&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss">Top Post-Hardcore Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Unwound</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.7146&amp;variant=data&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Washington-based trio Unwound have made an impact on the Indie Rock world by creating what amounts to a hell of a lot of racket. While they fly the flag for the extreme end of Indie Rock noise, they've spent much of their career looking for chances to stretch themselves. Their first full-length release in 1993, <i>Fake Train</i> (Kill Rock Stars), marked the creation of a new, stark musical landscape comprised of melodic, frenzied bursts of noise. Over their next two albums in 1994, <i>New Plastic Ideas</i> and in 1995, <i>The Future of What</i>, Unwound continued to musically extend themselves by adding more melody to the mix without sacrificing their trademark staccato outbursts and abrasive ambience. Tracing something of a continual upward spiral of exploration, they took yet another turn on <i>Repetition</i> in 1996, opening up to the idea of free form "jams" with the addition of horns. The following year brought <i>Challenge for a Civilized Society</i>, arguably their best release, once again saw the band looking to expand on their explosive yet melodic sound, with the keys of Pacific Northwest Indie Rock stalwart Steve Fisk filling out the tonal spectrum. Unwound define themselves as ÃÂÃÂprogressive punk rockÃÂÃÂ -- a Punk Rock approach coupled with relentless exploration.]]></description>
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<title>Nation of Ulysses</title>
<link>http://www.rhapsody.com/goto?rcid=art.4982&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss</link>
<category>Alt/Punk</category>
<pubDate>Wed, 18 Nov 2009 13:06:00 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1046&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss">Top Post-Hardcore Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Nation of Ulysses</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.4982&amp;variant=data&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[The concept -- band as anarcho-terrorist group with funny, thoughtful manifestos -- was arguably more interesting than the music itself. All the indie bases were covered, from garage band noise to jagged Emo. NOU dissolved in 1992.
- Tim Quirk]]></description>
</item><item>
<title>Jawbox</title>
<link>http://www.rhapsody.com/goto?rcid=art.10088&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss</link>
<category>Emo/Hardcore</category>
<pubDate>Tue, 17 Mar 2009 20:35:40 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1046&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss">Top Post-Hardcore Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Jawbox</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.10088&amp;variant=data&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Formed from the ashes of Government Issue in 1989 by singer/guitarist J. Robbins, Jawbox broke away from the sound of their Dischord labelmates by creating dynamically diverse music that relied on start and stop bursts of music and poetic verse. Their first two full-length releases, <i>Grippe</i> and <i>Novelty</i>, would set the standard for the band's songcraft: a dual dissonant guitar attack, pounding bass and jittery drum patterns that supply the soundtrack for Robbins' disjointed, enigmatic lyrics. In 1994, the band shocked the D.C. Indie scene by leaving their independent label for major label Atlantic. The subsequent <i>Savory+3</i> EP saw Robbins turn up the intensity, using a combination of low volume passages with explosive displays of emotional intensity. The full-length follow-up that same year, <i>For Your Own Special Sweetheart</i>, displayed the band at their diverse best, but also challenged the listener. The band was at their pinnacle, often mixing Power Pop melodies with noise band sensibilities. The group disbanded in 1997.]]></description>
</item><item>
<title>Goes Cube</title>
<link>http://www.rhapsody.com/goto?rcid=art.15088937&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss</link>
<category>Alt/Punk</category>
<pubDate>Mon, 18 May 2009 08:25:50 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1046&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss">Top Post-Hardcore Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Goes Cube</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.15088937&amp;variant=data&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss</rhap:data-href>
<description />
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<title>The USA is a Monster</title>
<link>http://www.rhapsody.com/goto?rcid=art.7590875&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss</link>
<category>Noise Rock</category>
<pubDate>Tue, 17 Mar 2009 20:34:06 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1046&amp;rws=%2Falt-punk%2Femo-hardcore%2Fpost-hardcore%2Fartist-chart.rss">Top Post-Hardcore Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The USA is a Monster</rhap:artist>
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<description><![CDATA[If you can imagine a sound like King Crimson filtered through noise rock, anarcho-punk, psych-folk, Native American tribal jams and some freaky "X" factor that's impossible to describe, then you've nailed the USA is a Monster. In the mid-'90s guitarist and singer Colin Langenus (aka Colin Matthews) and drummer Tom Hohmann were living in Boston, where they cofounded the gooey sludge-core trio Bullroarer. The group was soon playing gigs with the killer noise-rock bands then coming out of Providence, R.I.: Lightning Bolt, Olneyville Sound System, Arab on Radar and Landed. After Bullroarer's demise, Langenus and Hohmann relocated to Virginia, where they put together the USA is a Monster (or USAISAMONSTER), a collective of hairy weirdoes inspired by the "Providence sound." Eventually everyone else left, leaving just Langenus and Hohmann, who eventually settled in New York. Hohmann filled out their pulverizing prog jams with synthesizer and more vocals. He also started writing these anthemic throwdowns, reflecting his love for Native Americana. The group hit their peak with a trio of near-perfect records: <i>Tasheyana Compost</i>, <i>Wohaw</i> and <i>Sunset at the End of the Industrial Age</i>.
- Justin Farrar]]></description>
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