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<title>Top '90s Alternative Artists on Rhapsody Online</title><link>http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1050&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</link><description>Top '90s Alternative Artists on Rhapsody Online</description><category>'90s Alternative</category><language>en</language><ttl>720</ttl><pubDate>Mon, 30 Nov 2009 12:12:01 -0800</pubDate><image>
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<title>Top '90s Alternative Artists on Rhapsody Online</title>
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<title>Pearl Jam</title>
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<category>Grunge</category>
<pubDate>Fri, 27 Nov 2009 10:25:06 -0800</pubDate>
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<description><![CDATA[Many accused Pearl Jam of being a mainstream hard rock band that happened to hop on the alt rock gravy train at its busiest stop (Grungeville circa late 1991/early 1992), thereby reaping the benefits of constant exposure on suddenly flannel-friendly MTV with hit videos for "Alive," "Even Flow" and, most notably, "Jeremy." In the wake of the unpredictable success of their multi-platinum anthem-fest/debut <i>Ten</i>, Eddie Vedder eventually got used to being a celebrity. Not coincidentally, the band bravely began messing with its straight-ahead rock formula around that same time: "Spin the Black Circle" married punk with garage rock, "Off He Goes" put their own "Daughter" to shame for fireside ambiance, "Around the Bend" manifested the effects of <i>Mirror Ball</i> (their 1995 collaboration with Neil Young) soft and clear, and "Low Light" out-R.E.M.'d R.E.M. in its waltzing, acoustic beauty. In 2000, Pearl Jam began releasing no less than 72 volumes of live material chronicling the American and European legs of their tour in support of <i>Binaural</i>, which came out the same year. 2002's <i>Riot Act</i> proved that the band was as relevant as ever, and in 2006 they returned with a self-titled, heavy blast of anthemic anger at the state of the world. Pearl Jam are one of the few stalwarts surviving from the long-ago age of grunge hype, and they've actually become bolder and better with age.
- Charles Hodgkins]]></description>
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<title>Nirvana</title>
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<category>Grunge</category>
<pubDate>Fri, 27 Nov 2009 10:24:58 -0800</pubDate>
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<description><![CDATA[The phenomenal success of Foo Fighters demonstrates that Nirvana were a talented trio, and not just a rickety pair of training wheels for Kurt Cobain's wild ride into fame and annihilation. Obscured behind a smokescreen of publicity and deadened by the effects of endless radio play, Nirvana's music nonetheless holds its own as some of the very best of the 1990s. Krist Novoselic, Dave Grohl and Cobain managed to direct molten flows of white noise into melodic channels navigable by mainstream listeners. Cobain's lyrics, meanwhile, were imbued with the Pentecostal passion of someone speaking in tongues. Traveling in rapid pendulum swings from mania to catatonia, his singing conveyed the pain of a soul mortgaged deep in addiction and depression. He was a man trying desperately to make sense, through song, of the world around him -- something not often heard in Top-40 music. It's unfortunate that the nihilistic elements of Cobain's life and art were so widely and readily embraced by a Pied Piper-following cadre of Kurtophiles bent on viewing self-destruction as ennobling. Nirvana never aspired to be the anti-heroic role models that certain hopeless souls among us needed them to be. To make music that mattered is all they ever wanted, and they took genuine risks to achieve that goal. In the process, they inadvertently altered the geography of modern culture by popularizing (for better or worse) so-called "alternative" music.
- Chad Driscoll]]></description>
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<title>Smashing Pumpkins</title>
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<category>Dream Pop</category>
<pubDate>Fri, 27 Nov 2009 10:24:58 -0800</pubDate>
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<description><![CDATA[Billy Corgan and his Chicago cohorts arrived just as the alternative sea-swell was crashing ashore in the early 1990s, doing so with shiny, super-produced alt rock far removed from the Pacific Northwest's guttural Grunge rumblings. Corgan's obsessive, perfectionist nature helped rear an omnipresent triumvirate of crucial albums between 1991-95, each of which grandly built upon the scope and sound of its predecessor. <I>Gish</I>, <I>Siamese Dream</I>, and <I>Mellon Collie and the Infinite Sadness</I> -- in addition to the myriad songs released as non-album tracks during that time -- were chiefly characterized by Corgan's vocals that could whisper one moment and wail the next, Corgan and James Iha's overdriven, buzzing, these-go-to-11 guitars, and Jimmy Chamberlin's propulsive, overwhelmingly powerful drum work that thrust "Silverf*ck," "Bury Me," and "Geek U.S.A." into fifth gear. Lineup changes and an electronica-embracing sound muddled the band's late '90s efforts, and the Pumpkins called it quits in 2000. After years of near-constant speculation, Corgan and Chamberlin partnered to reform the group in 2007, releasing the bombastic <i>Zeitgeist</i> and returning to the world stage.
- Charles Hodgkins]]></description>
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<title>Alice in Chains</title>
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<category>Grunge</category>
<pubDate>Sat, 28 Nov 2009 09:38:31 -0800</pubDate>
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<description><![CDATA[Alice in Chains' debut arrived at the outset of the '90s without a name for the market they were supposed to attract. Their sound was too unique to be considered metal and more visceral than mere straight-ahead rock, but it was soon lumped in with that of other prominent bands emerging from the overcast skies of Seattle around the same time. Gritty, down-tuned guitars kept their legion of fans headbanging to "Man in a Box" and "Would?," offering sharp contrast to their mellower acoustic output ("Got Me Wrong," "No Excuses"). However, it was Jerry Cantrell and Layne Staley's thick and dissonant harmonies which became one of their most imitated and original features, spawning endless copiers. Heroin-tinged lyrics and jagged, odd-time riffs foreshadowed their supposed demise, but their influence lives on in many of today's copycat bands.
- Jessy Terry]]></description>
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<title>Beck</title>
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<category>Post-Modern Pop</category>
<pubDate>Sun, 29 Nov 2009 09:28:10 -0800</pubDate>
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<description><![CDATA[Beck Hansen spent his formative years in coffeehouses creating a suburban, angst-ridden persona that would eventually lead to a multiplatinum career and inspire legions of 7-Eleven slackers. Since the surprisingly successful 1994 single "Loser," Beck has continued onward and upward with a number of diversely creative, genre-jumping releases. He has emerged as one of the most colorful post-modern popsters -- from the contemplative <I>One Foot in the Grave</I> to the Dust Brothers-produced, folk-hop masterpiece <I>Odelay</I> and the futuristic party funk of <I>Midnite Vultures</I>. With albums like <I>Mutations</I> and <I>Sea Change</I>, Beck has shown that he's just as capable conveying the wounds of a broken heart as he is rapping about Cheez Whiz. Perhaps hoping to win back the post-modern tag, the troubadour returned to the beats in 2005 on the barrio-themed <I>Guero</I> and again in 2008 with <I>Modern Guilt</I>, produced by the equally trickster-like Danger Mouse. Magnetism and quirky charm dutifully intact -- he once threatened to play K-Mart retail stores exclusively -- Beck continues to party way past bedtime, singing, dancing and raking it in like it's 1999.
- Jon Pruett]]></description>
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<title>Stone Temple Pilots</title>
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<category>Grunge</category>
<pubDate>Sun, 29 Nov 2009 09:28:14 -0800</pubDate>
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<description><![CDATA[Though plagued by unaccepting critics over their career, Stone Temple Pilots have continued to win fans, selling more than 20 million albums and grabbing a Grammy in the process. Among the early harbingers of grunge, STP draw from influences such as Led Zeppelin and Black Flag to create their own influential sound.
- Jessy Terry]]></description>
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<title>Alanis Morissette</title>
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<category>Adult Alternative</category>
<pubDate>Thu, 19 Nov 2009 15:22:58 -0800</pubDate>
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<description><![CDATA[A former child television and pop star in her native Canada, 19-year-old Alanis Morissette established herself as a very different sort of star with "You Oughta Know," <I>Jagged Little Pill</I>'s first single. Backed by Flea and Dave Navarro, Morissette's wail of a woman scorned blends obsession, rage, blunt sexuality, and raw pain into a mob hit of a pop song and may be the best kiss-off song since "Positively 4th Street." Elsewhere on <I>Pill</I>, Morissette's confessional lyrics are as gawky, awkward, and self-important as their subject, adolescence. "You Oughta Know" is Jagged Little Pill's arresting standout, but the entire album &#8212; from "Ironic," "You Learn," to "Hand in My Pocket" has aged extremely well.
<br><br>
Three years later, Morissette and Ballard teamed up again to create <I>Supposed Former Infatuation Junkie</I>. Although just as lyrically dense as its predecessor, it suffers from relative indirectness. In songs like "Front Row," Morissette offers paragraphs of inscrutable lyrics such as "I'd like you to be schooled and in awe as though you were kissed by God full on the lips." The single "Thank U" and hard rocker "Baba" allow rare moments of Morissette's emotional punch to shine though her lyrical spew.
<br><br>
Besides marking her first tiny step away from Ballard, <I>MTV Unplugged</I> is a premature live disc with little to recommend it. In addition to songs from her first two releases, Morissette pads the set with three new songs and a pointless cover of the Police's "King of Pain." <I>Under Rug Swept</I> (Number One, Top 200)represents Morissette finally taking full control of her muse by writing and producing the entire disc. Less dense than the sonic tapestries she created with Ballard, <I>Under Rug Swept</I> nonetheless finds Morissette with more than enough musical intelligence &#8212; from thick guitars and hip-hop beats to Middle Eastern flourishes &#8212; to go it alone, though her lyrics still read like binge entries in a therapy diary. On "Hands Clean," even her posse turns out to contain an "inner posse." But no matter how ridiculous her lyrics may seem, Morissette's increasingly expressive singing is strengthened by her genuine belief in each and every word. As prolific as she is verbose, she also released <I>Feast on Scraps</I> (2002), containing a DVD of a performance from the Under Rug Swept tour and an outtakes audio disc. That same year Morissette made a cameo on HBO's <I>Curb Your Enthusiasm</I>, during which she and Larry David discussed urination.
<br><br>
<I>So-Called Chaos</I> (2004, Number Five), Morissette seemed more self-absorberd than ever . On "This Grudge" she goes back to the relationship that has haunted all her adult work, although this time even she realizes that it's "this grudge that's grown old." Still, she dutifully adds the detritus up to "14 years 30 minutes 15 seconds I've held this grudge/11 songs 4 full journals, thoughts of punishment I've expended." Yet, at the end of the song Morissette is still no closer to moving on. And so, stuck in a rut, <I>So-Called Chaos</I> becomes the sound of Morissette spinning her wheels by revisiting her old themes of verbose insecurity, self-discovery, and empowerment while allowing her music to stagnate under a pop sheen that -- like a nervous tick -- recycles the techno touches and Middle Eastern flourishes of earlier efforts .
<br><br>
Two peripheral releases followed: 2005's <I>Jagged Little Pill Acoustic</I> (Number 50, Top 200), a stripped-down version of her breakthrough album, and <I>Alanis Morissette: The Collection</I> (Number 51, Top 200), the latter yielding a minor hit with a cover of Seal's "Crazy." But the singer's comeback hit turned out to be a somber cover of Black Eyed Peas' "My Humps," which was released as a YouTube clip in 2007. Though never released as a single, the video garnered more than 12 million views in its first year.
<br><br>
Her first studio album in four years, 2008's <I>Flavors of Entanglement</I> (Number Eight, Top 200) followed on the heels of a broken engagement to actor Ryan Reynolds. Co-written and produced by Guy Sigsworth (Björk), the album surrounds Morissette's introspective lyrics with electronic beats, Eastern percussion and orchestral arrangements.]]></description>
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<title>The Cranberries</title>
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<category>Adult Alternative</category>
<pubDate>Fri, 6 Nov 2009 12:47:31 -0800</pubDate>
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<description><![CDATA[The success of the Cranberries' 1993 single "Linger" was certainly the result of their near-flawless sound. One listen to Dolores O'Riordan's voice -- an intense, piercing wail that soars emotively or shifts, at note's end, to a keen yelp -- and anyone within earshot is transfixed. Combined with the band's shimmering, folk-influenced guitar pop and excellent studio production, the Cranberries' popularity and chart success seems only logical. The singles that followed "Linger," "Zombie" and "Ode to My Family," both soared up the American and U.K. charts, resulting in multiplatinum album sales. By the time of their third LP, <i>To the Faithful Departed</i>, the band were already a household name on both sides of the Atlantic.]]></description>
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<title>Red Hot Chili Peppers</title>
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<category>Funk Rock</category>
<pubDate>Fri, 20 Nov 2009 12:50:56 -0800</pubDate>
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<description><![CDATA[Toiling in LA's club circuit for years, the Red Hot Chili Peppers finally pounded their funk/rap/rock into the mainstream with 1989's <I>Mother's Milk</I>. Making strange bedfellows of their native LA punk rock roots and love for Parliament/Funkadelic, the Chili Peppers earned respect from people of all walks of life when they crossed over into virtually every late-1980s subgenre: rap, funk, rock and punk. They covered Stevie Wonder's "Higher Ground" and Jimi Hendrix's "Fire," making them the songs their own with Anthony Kiedis' revved-up, attitude-fueled song-raps, Flea's rapid-fire slapped bass and John Frusciante's whirling funk fretwork. RHCP were poised to break out of the twee pop-for-tough-guys era forever, immortalized by such offerings as "Under the Bridge," a drug addiction-themed song which may have been about the heroin overdose that killed original guitar player Hillel Slovak in 1998 or Kiedis' own drug addiction. In fact, various members of RHCP have always seemed to endure battles with the hard stuff. Following the success of 1991's <I>Blood Sugar Sex Magic,</I> John Frusciante left the band to fight his addictions mid-tour. Jane's Addiction's Dave Navarro eventually took his place, joining after the Peppers auditioned dozens of other six-string hopefuls. Despite being a good musical fit, Navarro left the band in 1998 following the lackluster album sales from <I>One Hot Minute</I>. In 1999, the band reunited with a rehabilitated Frusciante and released the aesthetically superior <I>Californication.</I> As far as sales and tour receipts were concerned, the album was a success, much more than the lukewarm and comparatively uninspired <I>By The Way</I>, which came out three years later. <i>Stadium Arcadium,</i> the surprisingly durable band's much ballyhooed ninth full-length, is a double-disc rekindling of all things red and hot. When the album was leaked onto the Internet prior to its May 2006 release, Flea made an impassioned plea to fans to boycot the illegal version.
- Eric Shea]]></description>
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<title>The Flaming Lips</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.6996&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</link>
<category>Noise Pop</category>
<pubDate>Thu, 26 Nov 2009 11:27:50 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1050&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss">Top '90s Alternative Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Flaming Lips</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.6996&amp;variant=data&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Seven years into their career, things changed monumentally in 1990 for Oklahoma City's the Flaming Lips with the release of their seminal <i>In a Priest Driven Ambulance.</i> Fusing only bits of their endearing, off-kilter indie rock into a sonically intense and more innovative fuzzcraft of mid-tempo songs and walls of neo-psychedelic guitar drone, <i>IPDA</i> offered up such memorable pop thunder as "Unconsciously Screamin'" "Rainin' Babies" and "Mountainside." Their songwriting having drastically improved, each completed song brought new, succinct arrangements and different chord progressions -- yet the album as a whole had an incredibly loud, distinctive sound. Subsequent albums like <i>Hit to Death in the Future Head</i> and <i>Transmissions from the Satellite Heart</i> began yet another chapter in the Lips' ever-transforming career, employing more selectively the relentless yet blissful bombast of <i>IPDA</i> into beautifully orchestrated, stripped-down mega-productions of pristine guitar twinkle and LSD-impaired Beach Boys harmonies. (<I>Transmissions</I> also spawned the Lips' big moment in the mainstream sun with the ubiquitous "She Don't Use Jelly.") Since the untimely departure of guitarist/noise enthusiast Ronald Jones, the Flaming Lips have resembled more a pop-deconstructionist science fair than a rock band, with drummer Steven Drozd and founder Wayne Coyne working as synched-up visionaries rather than contributing members of the same band. 1999's <i>The Soft Bulletin</i> found them again on the cusp of disciplinary mastery, incorporating their bent inclinations and atmospherics even more subtly into their strangely familiar and narcotic brand of pop, while donning character costumes on stage. Their next release, <i>Yoshimi Battles The Pink Robots</i> followed the same path, albeit with even brighter production and a greater attention to detail. At its core, however, the record was a mediation on love, death and the assurance is life after almost unendurable psychic pain. On the Oklahoma City band's 2006 opus <i>At War With The Mystics</i>, spiritual leader and sonic ringmaster Coyne shows the sheer depth of his profundity when he casts his baleful eye outward, focusing his laser vision on current events; pointing a sharp stick at frothy pop icons, superficial thinkers, the abuse of power-both personal and political-and fanaticism wherever it shows up in culture. Their songs show that there's a lot more going on underneath those pink bunny suits than we ever imagined.
- Rachel Devitt]]></description>
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<title>Better Than Ezra</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.4230&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</link>
<category>Grunge-Pop</category>
<pubDate>Tue, 24 Nov 2009 09:38:16 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1050&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss">Top '90s Alternative Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Better Than Ezra</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.4230&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.4230&amp;variant=data&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Better Than Ezra entered the marketplace at the tail end of the grunge explosion, combining Seattle rock's emotional intensity with jangle pop accessibility and strong CBS-format savvy. Quickly tiring of formulaic guitar songs, Better Than Ezra's later records reveal their ability to evolve, as they incorporate elements of electronica and post-Radiohead sonic innovation.
- Mike McGuirk]]></description>
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<title>Bjork</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.4123&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</link>
<category>Post-Modern Pop</category>
<pubDate>Sun, 15 Nov 2009 11:03:39 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1050&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss">Top '90s Alternative Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Bjork</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.4123&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</rhap:play-href>
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<description><![CDATA[Bjork is hard to pin down and trace. Pointing to her pre-solo incarnations as a jazz singer, a Crass Records punk and an international indie-pop star with the Sugarcubes only shows a fraction of her depth. Since her <I>Debut</I>, in 1993, she has created a symbiosis between academic music and pop, her hands holding a score by Karlheinz Stockhausen while her feet dance to the faceless sounds of rave culture. Masterfully, her music never flies out into obscurity or stoops to obviousness. Working with innovative producers and remixers, such as Nellee Hooper, Howie B., Mark Bell, Matmos and, most recently, Timbaland, she has been able to consistently change strategies, keeping her sound contemporary, gently nudging at the edges of the mainstream. While she takes these adventurous turns through her career, her versatile voice is unmistakable. She displays wide emotional range from the contained rage of "Army of Me" to the explosive joy of "It's Oh So Quiet" to the ethereal bliss of "All Is Full of Love." While her music is always challenging, her fine art and screen side-projects are equally thought-provoking. For the Palme D'Or-winning Lars Von Trier film <i>Dancer In the Dark</i>, she won a Best Actress award for her leading role at Cannes in 2000. She would later collaborate with long-time boyfriend and fine art star Matthew Barney on the eerie and indulgent film <i>Drawing Restraint 9</i>.
- Marc Kate]]></description>
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<title>Sinead O'Connor</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.1786&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</link>
<category>Adult Alternative</category>
<pubDate>Sun, 22 Nov 2009 10:09:55 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1050&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss">Top '90s Alternative Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Sinead O'Connor</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.1786&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.1786&amp;variant=data&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Sinead O'Connor was one of the key artists of the 1990s, but oddly, considering her abundant talent and charisma, she stood out more for style than substance. O'Connor had plenty of attitude, a shaved head, and an abundant willingness to speak out on controversial topics. Alongside straightforward rocker Joan Jett, O'Connor helped pave the way for everyone from Courtney Love to P.J. Harvey and the entire Lilith Fair generation. Her debut album was a mainstream alternative radio hit, but the superior follow-up <I>I Do Not Want What I Haven't Got</I>, fueled by the Prince-penned single "Nothing Compares 2 U," deservedly became one of the hottest albums of the early '90s. While she was busy getting plenty of tabloid press for badly thought-out political statements, her subsequent albums stopped selling and O'Connor became gun-shy after her respectable 1994 release <I>Universal Mother</I>. But no one could expect such a towering talent to remain quiet for long, and O'Connor enjoyed a new burst of creative energy with 2000's <I>Faith In Courage</i> and her album of Irish traditionals, 2002's <i>Sean-Nos Nua</i>. She retired again in 2002, but roared back to action in 2005, teaming up with famed reggae producers Sly and Robbie for a daring, beautifully executed album of classic reggae covers.
- Nick Dedina]]></description>
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<title>Liz Phair</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.38140&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</link>
<category>Adult Alternative</category>
<pubDate>Thu, 26 Nov 2009 11:27:16 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1050&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss">Top '90s Alternative Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Liz Phair</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.38140&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.38140&amp;variant=data&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Though a consummate songwriter, Liz Phair is best known for her pre-Lilith feminist leanings. The nicotine-stained voice on her 1993 debut, <i>Exile in Guyville</i>, is as insensitive and self-centered as that of any frat boy, while self-explanatory songs such as "F*ck and Run" and the unladylike lust of "Flower" were hardly the mixed signals or catty whispering the media had come to expect from its charming young ladies. <i>Whitechocolatespaceegg</i> (1998) found Phair writing the best songs of her career. More contemplative and less vitriolic than its predecessors, that album is an excellent display of Lo-Fi brilliance, boasting economical guitar playing, weathered yet charming singing and lyrics, and intriguing arrangements. Helped along by the hit single "Why Can't I?," Phair's 2003 re-invention as a slick rock/pop idol for the teenage set (and their parents) simultaneously confused the press and intrigued the public. For <i>Somebody's Miracle</i> (2005), Liz Phair collaborated with Sheryl Crow producer John Shanks.
- Kelly Bauman]]></description>
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<title>Lisa Loeb</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.2849&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</link>
<category>Adult Alternative</category>
<pubDate>Fri, 20 Nov 2009 12:52:06 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1050&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss">Top '90s Alternative Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Lisa Loeb</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.2849&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.2849&amp;variant=data&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[The bespectacled Lisa Loeb became every English major's dream date when "Stay," a single from the movie <i>Reality Bites</i>, made her the first unsigned artist to have a No. 1 hit single. She didn't remain without a label for long, and the Adult Alternative Folk-Rocker has since released two solid albums and had a moderate follow-up hit with "I Do." Loeb's catchy tunes are more grounded than Suzanne Vega's, but come across as more idiosyncratic and personal than Sheryl Crow's.]]></description>
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<title>Hole</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.5894&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</link>
<category>Grunge</category>
<pubDate>Sun, 4 Oct 2009 09:42:37 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1050&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss">Top '90s Alternative Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Hole</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.5894</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.5894&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</rhap:play-href>
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<description><![CDATA[<I>Pretty on the Inside</I>, Hole's 1991 debut, is a blistering heat rash of an album, full of ragged guitars, tabloid-sensational lyrics, and vocals that cut like cat claws. In all of Riot Grrrl-dom, there's not an album that has held up as well. <I>Live Through This</I>, the '94 follow-up, dropped the combative stance for more mature and more vulnerable moments of self-appraisal. The album's most memorable track, "Doll Parts," sounds like a last confession given at the point of exhaustion and performed without any hope of salvation. Courtney Love, for once, sounded like she was actually singing instead of just venting. A third album, 1998's <I>Celebrity Skin</I>, showcased yet another side of the band, emerging this time dappled in the Technicolor sunshine of '60s/'70s California pop. A public grown accustomed to a crowd-baiting Courtney arrayed in dirty laundry didn't know what to make of the new image and sales were never better than tepid. After a series of personal breakdowns in public, a rotating door policy at Betty Ford and the growing up of daughter Francis Bean, Love dissolved Hole completely in 2004.
- Mike Cloward]]></description>
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<title>The Breeders</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.651&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</link>
<category>Noise Pop</category>
<pubDate>Sat, 24 Oct 2009 12:08:47 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1050&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss">Top '90s Alternative Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Breeders</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.651&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</rhap:play-href>
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<description><![CDATA[As a band, the Breeders never seemed to equal the sum of its parts. Originally containing former Throwing Muse Tanya Donelly and erstwhile Pixie Kim Deal, the band's first album was an eccentric diversion through Noise Pop terrain that included a stab at Lennon/McCartney's "Happiness Is a Warm Gun" and the guitar pop pleasers "Glorious" and "Iris." After Donelly's departure, Deal and company recorded a second full-length album which, though less consistent, turned out to be the band's commercial breakthrough. The stop and grind guitars and Deal's now giddy/now testy vocals in "Cannonball" were the toast of the mid-'90s girl band revival.
- Chad Driscoll]]></description>
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<title>Cibo Matto</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.6728&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</link>
<category>Post-Modern Pop</category>
<pubDate>Tue, 17 Mar 2009 20:35:44 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1050&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss">Top '90s Alternative Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Cibo Matto</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.6728&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</rhap:play-href>
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<description><![CDATA[Both New York transplants from Japan, Yuka Honda and Miho Hatori played music together for a number of years before forming Cibo Matto in the mid-'90s with Sean Lennon on bass. Cibo Matto, roughly translating to "crazy food" in Italian, is a hybrid sound of hip-hop rhythms, ethereal vocal harmonies, mellow lounge cool, trip-hop sampling, and lyrics about food. Their sound shifts subtly from song to song, but the food theme skewers their efforts together -- hence "Birthday Cake," "Artichoke," and "Sci-Fi Wasabi."
- Marc Kate]]></description>
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<title>Daniel Johnston</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.871&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</link>
<category>Homemade</category>
<pubDate>Thu, 17 Sep 2009 11:42:59 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1050&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss">Top '90s Alternative Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Daniel Johnston</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.871&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.871&amp;variant=data&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Texas-based Daniel Johnston has been releasing endearingly unrefined music to the public since he began unleashing home-recorded cassette tapes in 1980. Much of his cult following stemmed from these tapes as well as from the MTV coverage he received during the mid '80s. The finished results of Johnston's Lo-Fi tomfoolery have been covered by such seminal Indie Rock goblins as Sonic Youth, Nirvana, Yo La Tengo, Butthole Surfers and Half Japanese to name a few. Johnston's vivacious pop songs are usually laden with chiming guitar, clunky keyboards, distant rhythms, and a sometimes sinister, sometimes child-like perspective on life. Unlike his contemporaries (such as Lou Barlow), Johnston often seems too lost in his own Syd Barret-like condition to write jaded and cynical songs.
- Eric Shea]]></description>
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<title>Babes in Toyland</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.4451&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</link>
<category>Riot Grrrl</category>
<pubDate>Tue, 21 Jul 2009 15:58:57 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1050&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss">Top '90s Alternative Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Babes in Toyland</rhap:artist>
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<description><![CDATA[Little girls, it turns out, are not made out of sugar, spice and everything nice. Not grrrls like Babes in Toyland, anyway. These guitar packin' mamas are wholly composed of rage, unbridled aggression, and enough in-your-face attitude to send all those snake, snail and puppy dog tail-based life forms scurrying for a safe spot to hide. Largely based on the success of the scathing "Bruise Violet" in 1993 (which, oddly enough, gained fame partly due to the video's inclusion in a <i>Beavis and Butthead</i> episode), a song supposedly written about Bjelland's ex-bandmate Courtney Love, BIT became poster girls for foxcore and female rage. Although bands like Hole have surpassed the Babes in popularity, they remain among the grittiest of the girls-with-guitars grungesters.
- Kali Holloway]]></description>
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<title>Shonen Knife</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.59380&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</link>
<category>Punk</category>
<pubDate>Fri, 20 Nov 2009 12:51:39 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1050&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss">Top '90s Alternative Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Shonen Knife</rhap:artist>
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<description><![CDATA[When Shonen Knife first appeared stateside in the late 80's/early '90s, no one could decide if they loved them because they played such pure Ramones-style Punk-Pop or because their bad English and pop culture fascination were so darn cute. The cute angle may have become a little tired after three records dedicated to Barbie, furry animals and Jonathan Richman, but the magnetic pull of charged guitar tunes harboring lethal hooks and sticky, confectioner's sugar vocals can still make a first-time listener repeatedly nod their head, a giddy smile plastered to their face.
- Mike McGuirk]]></description>
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<title>Rocket from the Crypt</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.6271&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</link>
<category>Post-Hardcore</category>
<pubDate>Sun, 29 Nov 2009 09:28:42 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1050&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss">Top '90s Alternative Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Rocket from the Crypt</rhap:artist>
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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>Bill Fox</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.5892&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss</link>
<category>Homemade</category>
<pubDate>Thu, 29 Oct 2009 10:54:25 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1050&amp;rws=%2Falt-punk%2Findie-alternative%2F90s-alternative%2Fartist-chart.rss">Top '90s Alternative Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Bill Fox</rhap:artist>
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<description><![CDATA[Solo work from the former frontman of Cleveland power poppers, The Mice. Bill Fox puts together sweet melodic finger-picking guitar pop with smart bittersweet lyrics.
- Jon Pruett]]></description>
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