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<title>Top Dream Pop Artists on Rhapsody Online</title><link>http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link><description>Top Dream Pop Artists on Rhapsody Online</description><category>Dream Pop</category><language>en</language><ttl>720</ttl><pubDate>Fri, 1 Jan 2010 23:46:11 -0800</pubDate><image>
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<title>Top Dream Pop Artists on Rhapsody Online</title>
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<title>Smashing Pumpkins</title>
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<category>Dream Pop</category>
<pubDate>Fri, 1 Jan 2010 10:23:52 -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>Feist</title>
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<category>Baroque Pop</category>
<pubDate>Tue, 29 Dec 2009 10:22:48 -0800</pubDate>
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<description><![CDATA[If Call and Response's Carrie Clough is the Nick Drake of indie rock, then Leslie Feist is the Colin Blunstone. Her voice has that warm, buttery ooze that melts down the microphone with the same gentle timbre heard on Blunstone's "Caroline Goodbye." Feist's musical history maps out almost as nomadically as her own travels. She cut her pearly whites in a Calgary punk band called Placebo (not to be confused with the eyeliner-and-nail-polish-wearing British guys) and got to play her very first show opening for the Ramones after winning a battle of the bands contest while still attending high school. Needless to say, that show changed her life. She spent the next half-decade touring in a van and screaming her voice out -- literally. Medical doctors told her that she would never be able to sing again, but doctors say a lot of things. She relocated to Toronto and hibernated for half a year with a guitar and a four-track, honing her layering skills to a razor-like sharpness. The guitar replaced her voice for a while, and she dove deep into barbed pop architecture, later playing guitar for (and touring with) By Divine Right. Working with a voice specialist over the years paid off and in 1999 Feist recorded her first solo album, <I>Monarch (Lay Down Your Jeweled Head)</I>. A year later she moved in with <I>Vice Magazine</I> poster girl Peaches and opened up for the electroclash artiste on her first American tour. After that, she joined Broken Social Scene for their second album and toured the U.S. and Europe with them before cranking out her sophomore album, </I>Let It Die</I>, in Paris with Chilly Gonzales and Renaud Letang in 2004. Her solo material can be categorized as indie pop, but Feist balances sophisticated baroque styling with a trip-hop derivative of her own invention that weaves in and out of classic folky frameworks while her ethereal vocals layer over one another in gossamer harmonies. When she plays solo, Feist is the master of the looping effect pedal. She'll strum her electric guitar and catch a riff on it and then pick out a catchy arpeggio to stack on top before looping up to five layers of her heavenly vocals to sound like a one-woman pop symphony. If you see her listed in the pages of your local alt weekly, do yourself a favor and throw down whatever cover they're charging to see her. You will be moved.
- Eric Shea]]></description>
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<title>Air</title>
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<category>Downtempo</category>
<pubDate>Thu, 10 Dec 2009 10:52:48 -0800</pubDate>
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<description><![CDATA[Originally gaining recognition for their down-tempo cocktail funk of "Modular Mix" and "Casanova 70" on the French SourceLab compilations of 1997, Air released their full-length debut the following year. An incredibly ambitious and successful melange of Serge Gainsbourg by way of Vangelis, <i>Moon Safari</i> is awash in strings, vocoders, analog synths, fluttering electro pulses and soulful backbeats. Everything from the rare groove of "La Femme D'Argent" to the Euro-pop of "Kelly, Watch the Stars!" is vaguely familiar, but never so successfully arranged until this point. Live, they are prone to wearing white jumpsuits while strategically placed fans blow wind through their hair, and there is no shortage of body-popping electro-funk. In the end, you are left with perfect road trip music -- assuming you're driving to the moon.
- Jon Pruett]]></description>
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<title>Cat Power</title>
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<category>Indie/Alternative</category>
<pubDate>Sun, 20 Dec 2009 09:42:27 -0800</pubDate>
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<description><![CDATA[The cult of Chan (pronounced "Shawn") Marshall runs fathoms deep. Performing and recording under the name Cat Power since the early 1990s, despite the fact that she prefers dogs, Marshall has collected a devout and faithful following who hang on her every syllable. Should you make the mistake of clearing your throat at a Cat Power show or whispering a comment to your friend, be prepared to be aggressively shushed by any one of these people. Her sullen vocal tone, half-finished live songs, heavy-lidded banter, onstage breakdowns as well as her overall shy and demure demeanor have prompted pretentious paralleling to the late Elliott Smith by many a young music journalist. But lumping Marshall's melancholic musings in with those of Smith's is a detriment to the material of both artists. If she has to be compared to anyone, the haunting beauty and burning truth of her songwriting seems more akin to the late, great Townes Van Zandt. Ever since her 1995 debut, <I>Dear Sir</I> it was clear that she could write the kind of songs that reveals the wounded hearts that beats in so many of us. In her teens, Marshall dropped out of high school and moved to New York City to pursue music. It was there that she opened for Liz Phair, catching the attention of Tim Foljahn and Steve Shelley from Two Dollar Guitar and Sonic Youth (respectively). After recording her first two albums with the aforementioned musicians, she was signed to Matador in 1996. The cathartic <I>Moon Pix</I> was released to critical acclaim in 1998 followed by 2000's <I>The Covers Record</I>, a beautifully crafted album that earned many comparisons to Mark Kozelek's method of cover song deconstruction and restoration. But 2003's <I>You Are Free</I> was the sound of Marshall hitting her stride. Comprised of 14 original songs, this album is the one that landed her a radio hit (albeit a small one) and music video for "He War." While the success of this album didn't thrust her into the mainstream, she did gain a lot of press coverage and subsequently began to sell out much larger venues on her tour for the album. While her previous works echoed the sentiments of a girl weighed down by her heartbreak, <I>You Are Free</I> resonated with the revelry of a woman letting go of her demons. Her seventh album, <I>The Greatest</I>, was released on January 24, 2006.
- Eric Shea]]></description>
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<title>The Verve</title>
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<category>Brit Rock</category>
<pubDate>Fri, 1 Jan 2010 10:23:44 -0800</pubDate>
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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>The Flaming Lips</title>
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<category>Noise Pop</category>
<pubDate>Fri, 1 Jan 2010 10:23:52 -0800</pubDate>
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<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>Sigur Ros</title>
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<category>Post-Rock</category>
<pubDate>Fri, 1 Jan 2010 10:23:49 -0800</pubDate>
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<description><![CDATA[Sigur Ros may not realize they're the kings of post-Shoegazer (sorry, Mogwai), but perhaps that's a good thing. This Icelandic outfit creates interplanetary soundscapes that make Slowdive sound like Motorhead. Moaning guitars weep and howl over textured, ether-soaked guitar effects as an androgynous singer coos and croons wistful melodies of pure soul. Sigur Ros create the kind of transcendental music for those who appreciate aural escapism and white noise. Their songs somehow sound and feel like coming down softly upon endless Arctic sheets -- you clear off some snow from the surface to discover blue lights shining from beneath the ice. If ghosts get to listen to music, don't think for a second that they subscribe to the gloomy Goth ethic. It would make sense if Sigur Ros topped the music charts for afterlife listeners.
- Eric Shea]]></description>
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<title>Peter Bjorn and John</title>
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<category>Dream Pop</category>
<pubDate>Fri, 25 Dec 2009 11:17:25 -0800</pubDate>
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<description><![CDATA[Sweden's Peter Moren and Bjorn Yttling met as teenagers and played together for eight years before meeting John Eriksson in 1999. They released their eponymous debut in 2002, becoming darlings of the indie pop crowd, with even London's Rough Trade being moved to comment "nothing else sounds as good as Swedish pop right now." They followed this with <i>Falling Out</i> in 2004, and then 2006's <i>Writer's Block</i>, which came to prominence in the U.S. with the single "Young Folks," featuring the Concretes' Victoria Bergsman on vocals. In 2009, they released the sparser, more electro-powered <i>Living Thing</i>. Less twee than the Cardigans, and more approachable than the Velvet Underground, PB&J occupy that space previously owned by Orange Juice and the solo work by their singer Edwyn Collins -- wry, sophisticated indie pop with a wistful and melancholic air.
- Nicholas Baker]]></description>
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<title>Bat For Lashes</title>
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<category>Post-Modern Pop</category>
<pubDate>Sun, 20 Dec 2009 09:42:25 -0800</pubDate>
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<description><![CDATA[The opening track on British songwriter and singer Natasha Khan's debut record came to her in a dream, one that inspired the former film student and then-nursery school teacher to a second career in music. According to Khan, the dream focused on a black horse that came to her window and invited her to take part in a mythical quest. In the waking world, that quest led to Kahn writing songs filled with themes of otherworldly kingdoms, fanciful allegories and woodland creatures, and eventually setting them to tape for a heady blend of darkly psychedelic indie pop. Recorded between her home city of Brighton and London, the record, <i>Fur and Gold</i>, found a home on the Echo Label and was released in September, 2006. Praised by the British press for her artful presentation and lolling songcraft, Kahn put together a live band and hit the road, supporting likeminded indie songstresses CocoRosie. She soon went back into the studio and released the more electro-centric follow-up, <i>Two Suns</i> in 2009.
- Nate Cavalieri]]></description>
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<title>Elbow</title>
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<category>Brit Rock</category>
<pubDate>Thu, 26 Nov 2009 11:27:14 -0800</pubDate>
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<rhap:artist xmlns:rhap="rhap">Elbow</rhap:artist>
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<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>
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<title>Mazzy Star</title>
<link>http://www.rhapsody.com/goto?rcid=art.2170&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Dream Pop</category>
<pubDate>Fri, 4 Dec 2009 13:19:29 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Mazzy Star</rhap:artist>
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<description><![CDATA[No, Mazzy Star isn't the lead singer. That honor belongs to Hope Sandoval, whose Melanie-on-downers vocals manage to sound at once angelic and abandoned to lust. Hers is a voice that enfolds listeners in warm, velvety wings, rocking them into languid, erotic daydreams. On "Fade Into You," the band's most noteworthy single, Sandoval and guitarist David Roback perfectly realize their attempts to fuse droning psychedelic folk with lonesome cowboy flourishes. By embellishing the abject minimalism of Nick Drake's <I>Pink Moon</I> material with pedal steel and harmonica, Mazzy Star hit upon a sound that is rustic without quite sounding country. It serves as the perfect format for Sandoval, whose mournful, misguided-angel vocals can sound as lonely as a leaf swept through empty streets, or a feather adrift in a world made of rain. This is music you'll want to listen to alone -- with a box of tissue nearby.
- Chad Driscoll]]></description>
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<title>Pinback</title>
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<category>Indie/Alternative</category>
<pubDate>Wed, 30 Dec 2009 10:58:48 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Pinback</rhap:artist>
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<description><![CDATA[Becoming familiar with Pinback is easy: the arching harmonies, cyclical melodic lines, and intricate bass-driven rhythmic foundations make the band one of the most distinguishable, inventive acts to emerge in the late '90s. Pinback was formed in 1998 in San Diego by core members Zach Smith and Rob Crow. Both Smith and Crow had enjoyed a modicum of success with previous projects -- Three Mile Pilot and Heavy Vegetable, respectively -- but made bigger waves with their collaboration, which debuted with an eponymous 1999 LP (sometimes referred to as <i>This Is A Pinback CD</i>) on New Jersey's Ace Fu Label. This was followed by 2001's <i>Blue Screen Life</i>, their last on Ace Fu before signing with Touch and Go. Their two records with Touch and Go include 2004's <i>Summer in Abandon</i> and 2007's <i>Autumn of the Seraphs</i>.
- Nate Cavalieri]]></description>
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<title>The Dandy Warhols</title>
<link>http://www.rhapsody.com/goto?rcid=art.42700&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Dream Pop</category>
<pubDate>Thu, 24 Dec 2009 13:15:19 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Dandy Warhols</rhap:artist>
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<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>
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<title>Mogwai</title>
<link>http://www.rhapsody.com/goto?rcid=art.68651&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Post-Rock</category>
<pubDate>Wed, 30 Dec 2009 10:58:50 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Mogwai</rhap:artist>
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<description><![CDATA[Mogwai's fleshed-out spacey guitar arrangements are a blissful drone that always stops short of meandering. Their creative, multilayered guitar noodling often takes precedence over Stuart Braithwaite's sparse vocals. Formed in 1996, the band proceeded to release a number of largely ignored independent singles, until the release of "Angels vs. Aliens," which became a U.K. Indie Top-10 single. The band began to amass critical acclaim with the release of <i>Mogwai Young Team</i> in 1997 and solidified their place in the alt rock world with the hugely successful <i>Kicking A Dead Pig</i> in 1998.
- Mike Cloward]]></description>
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<title>Stereolab</title>
<link>http://www.rhapsody.com/goto?rcid=art.5332&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Dream Pop</category>
<pubDate>Thu, 10 Dec 2009 10:52:17 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Stereolab</rhap:artist>
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<description><![CDATA[Clean, soapy bliss like a new bottle of bubbles. The looped wand waves through the wind and casts out dreamy, melancholic analog waves. A picnic on a sunny day with estranged French relatives; both familiar and foreign, you recognize the references, but you cannot help but notice they are out of context. The chanteuse's optimism creates absurd words of revolution and the empty promise of future days.
- Marc Kate]]></description>
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<title>Yo La Tengo</title>
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<category>Indie/Alternative</category>
<pubDate>Thu, 17 Dec 2009 10:45:47 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Yo La Tengo</rhap:artist>
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<description><![CDATA[Since the mid-1980s, this Hoboken, N.J., trio has won the hearts of many with their eclectic, creative guitar/organ-driven sound. A perennial critical favorite, Yo La Tengo have consistently released engaging, challenging pop music that is defiant of trends, and they maintain a fiercely devoted cult following not unlike a modern-day Velvet Underground. Guitarist Ira Kaplan's assured, noisy and innovative guitar work, coupled with wife Georgia Hubley's sublime, angelic vocals, has made for some of the best Indie Rock of the '80s and '90s. <I>May I Sing With Me</I> (1992) lent the band a louder, bass-heavy feel as Kaplan began to extensively fixate on feedback, but as many bands throughout the decade became progressively louder, Yo La Tengo bucked that trend by recording successive albums that were increasingly subtle and varied. The organ-heavy grooves of <I>Electr-O-Pura</I> and the stark quietude of <I>And Then Nothing Turned Itself Inside-Out...</I> have cemented Yo La Tengo's already burgeoning reputation among critics and college radio fans alike.
- Charles Hodgkins]]></description>
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<title>M83</title>
<link>http://www.rhapsody.com/goto?rcid=art.5264292&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Laptronica</category>
<pubDate>Sun, 20 Dec 2009 09:42:42 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">M83</rhap:artist>
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<description><![CDATA[M83 began in the southern French town of Antibes around the turn of the millennium as a duo, Anthony Gonzalez and Nicolas Fromageau. Equally indebted to the 4AD/My Bloody Valentine school of blissed-out, psychedelicized noise and to the chilled atmospheric sides of Paris and Berlin's electronic scenes, M83's self-titled debut and its 2003 follow-up, <I>Dead Cities, Red Seas and Lost Ghosts</I>, captured the tragedy and ascension of the post-9/11 moment. Befitting a group named after a universe, it was not small music, it did not back down from feelings and it could rock a dance floor without mocking rockers or dancers. Fromageau exited ahead of '05's <I>Before the Dawn Heals Us</I>, yet as titles like "Teen Angst" and "Don't Save Us from the Flames" may imply, M83 retained the sound and fury of a sonic battleground, youthful vigor and knowing hopelessness exploding and receding. A limited-edition EP of ambient sculptures called <I>Digital Shades [Vol. 1]</I> saw Gonzalez achieve an ambient calm. And when he re-entered the breach, '08's <I>Saturdays = Youth</I> found him embracing an '80s song form, an almost-pop band forming from the big bang of an electronic freak-out.
- Piotr Orlov]]></description>
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<title>The Church</title>
<link>http://www.rhapsody.com/goto?rcid=art.1102&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Neo Psychedelic</category>
<pubDate>Fri, 4 Dec 2009 13:21:20 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Church</rhap:artist>
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<description><![CDATA[With a catalog full of atmospheric, sublime songs, the Church are that ray of warm sunlight that sneaks its way through the pea soup enshrouding a deserted beach in late autumn. Embodying the ideal synthesis of Post-Punk urgency, swirling psychedelia, and cloaked pop melodies, the quartet has been riding out peaks and valleys since the early 1980s, while never betraying their initial MO of creating dreamy, yet meticulous guitar pop. Early high points include "The Unguarded Moment" (their first hit single at home in Australia) and the epic "Is This Where You Live?" But while some point to their mid-1980s work as their finest, it's difficult to top the band's commercial steak-and-potato days of <i>Starfish</i> (1988) and <i>Gold Afternoon Fix</i> (1990). If the lilting "Under the Milky Way" didn't convince radio and MTV audiences of the band's reserved greatness, then "Metropolis" certainly did -- the song's repeated five-note guitar line and hazy, mandolin-accented outro are the most gorgeous moments of '90s alternative rock. That said, the '90s weren't so kind to the Church, as Arista dropped the band (at that point down to a duo) following the bloated opus <i>Sometime Anywhere</i> in 1994. Still, they re-formed into a full quartet later in the decade, ultimately releasing a number of albums, from jam sessions to moderate self-produced recordings. In 2009, nearly three decades after forming, the Church released the beautifully spacey <i>Untitled #23</i>, arguably one of their greatest albums to date.
- Charles Hodgkins]]></description>
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<title>Blue Foundation</title>
<link>http://www.rhapsody.com/goto?rcid=art.8961771&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Dream Pop</category>
<pubDate>Wed, 30 Dec 2009 10:58:56 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Blue Foundation</rhap:artist>
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<description><![CDATA[Based in Copenhagen and incorporating musicians from across Europe and Japan, Blue Foundation produces music that shows just as much range, combining traces of New Order's melodic post-punk, My Bloody Valentine's starry-eyed shoegaze and the electronic-tinged pop of Air and Zero 7. The brainchild of Bichi Tobias Wilner, around whom revolves a shifting group of singers and instrumentalists, Blue Foundation's first release was a 2000 single on Moshi Moshi, the label that also gave Hot Chip their first leg up. Throughout the decade, the band racked up an impressively packed discography whose sound went in increasingly sophisticated (and radio-friendly) directions. The group's appearance on the <I>Twilight</I> soundtrack sealed its reputation as a band on the move. For those just discovering Blue Foundation, begin with 2007's richly textured <I>Life of a Ghost</I> and work your way backward.
- Philip Sherburne]]></description>
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<title>The Sundays</title>
<link>http://www.rhapsody.com/goto?rcid=art.33812&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Dream Pop</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=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Sundays</rhap:artist>
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<description><![CDATA[With a classic British Jangle Pop sound interwoven with Harriet Wheeler's siren singing, the Sundays wowed indie kids everywhere with their 1990 debut <i>Reading, Writing & Arithmetic</i>. Although they were more commercially successful for their gossamer cover of "Wild Horses," the Sundays could hold their own as songwriters, as proven on the hit "Here's Where The Story Ends." Unfortunately the band never made it huge in the mainstream as British journalists had predicted. The Sundays would later be criticized for making the same record three times, but as the old saying goes, "If it ain't broken, why fix it?"
- Eric Shea]]></description>
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<title>Cocteau Twins</title>
<link>http://www.rhapsody.com/goto?rcid=art.44109&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Dream Pop</category>
<pubDate>Fri, 18 Dec 2009 12:08:55 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<description><![CDATA[With the release of <I>Garlands</I> in 1982, Cocteau Twins became one of the very few musical acts to establish a genre. Their sensuous soundscapes seemed to offer a new horizon of possibilities for those who were drawn to gothic music but didn't share in the scene's morbid preoccupations. Each of their compositions is an exercise in auditory impressionism, with Elizabeth Fraser's inscrutable phrasings contributing to that effect. Her singing is as exotic and foreign-sounding as bird song, and forms the core of the band's distinct sound.
- Chad Driscoll]]></description>
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<title>Dead Can Dance</title>
<link>http://www.rhapsody.com/goto?rcid=art.344&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Goth</category>
<pubDate>Thu, 10 Dec 2009 10:52:47 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Dead Can Dance</rhap:artist>
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<description><![CDATA[It took Dead Can Dance to find the common ground between black-clad gloom rockers and Birkenstock-sporting new agers. They accomplished this by emphasizing the melancholia in their mix of mesmerizing vocals, catchy drum beats, synthy world music, European Renaissance folk and modern studio wizardry. Wrapping it all in Joy Division-style album covers helped lure in the alternative rock crowd. The amazing part was that they never watered any element down, but created a world and a sound all their own. They plunge you into a Technicolor <i>Seventh Seal</i> that shows the beauty in death and disease while keeping the chess-playing grim reapers at a safe distance. For those who love Siouxsie Sioux <i>and</i> herbal tea -- Dead Can Dance are the Tuck and Patti for the Anne Rice set.
- Nick Dedina]]></description>
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<title>The Cardigans</title>
<link>http://www.rhapsody.com/goto?rcid=art.705&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Adult Alternative</category>
<pubDate>Fri, 1 Jan 2010 10:23:09 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Cardigans</rhap:artist>
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<description><![CDATA[Maybe the biggest band to come out of Sweden since Abba, The Cardigans' 1996 mega-hit "Lovefool" was instantly recognizable for the distinctive cotton candy vocals of Nina Persson. The band made penning melodies that were as eternally fresh and instantly consumable as Twinkies sound easy. It's not easy, of course -- at least not always. In the case of the Cardigans, there is evidence of carefully refined talent beneath the whimsy.
- Chad Driscoll]]></description>
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<title>Emiliana Torrini</title>
<link>http://www.rhapsody.com/goto?rcid=art.54278&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Dream Pop</category>
<pubDate>Fri, 18 Dec 2009 12:08:53 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Emiliana Torrini</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.54278&amp;variant=data&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Hailing from Iceland, indie folk songstress Emiliana Torrini makes sweet music that evokes hypnotic childhood memories. Backed by a delicate mix of acoustic guitar and sparse drum rhythms, Torrini's breathless vocal delivery is reminiscent of fellow Icelander Bjork. Raised in the town of Kopavogur, Torrini worked in her father's Italian restaurant and attended opera school during her teenage years. In 1999, she released her debut album, <i>Love in the Time of Science</i>, produced by Tears For Fears' Roland Orzabal. In 2002, famed <i>Lord of the Rings</i> director Peter Jackson asked Torrini to voice the final music for <i>The Two Towers</i> (a gig that Bjork was set to do before backing out due to pregnancy). Three years later, Torrini released <i>Fisherman's Woman</i>. Moving away from the trip-hop beats of her debut, the album showcases her otherworldly vocals in soft layers of downtempo folk, a style she continued to work with on 2008's <i>Me and Armini</i>.
- Jamie Sanchez]]></description>
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<title>The Jesus and Mary Chain</title>
<link>http://www.rhapsody.com/goto?rcid=art.60999&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Noise Pop</category>
<pubDate>Thu, 31 Dec 2009 11:22:57 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Jesus and Mary Chain</rhap:artist>
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<description><![CDATA[On a list of the most influential records recorded in the '80s, someone would be hard pressed not to include somewhere in the top five the Jesus and Mary Chain's staggering debut, <I>Psychocandy</I>. Influential beyond measure, it threw together walls of white feedback with angelic Beach Boys and Byrds-ian harmonies and the independent music world is still aping it. Their growth since that record has been marked by ups and downs and some might say, by a lack of growth at all. They've gone from confrontational noise to sample-heavy alterna-hits, to acoustic bliss and back to noise again. The brothers Reid (Jim and William) have not been known to deny their influence and continue their onstage feuding: drunken assaults amidst a smattering of occasional strung-out brilliance and too-often sameness.
- Jon Pruett]]></description>
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<title>Black Rebel Motorcycle Club</title>
<link>http://www.rhapsody.com/goto?rcid=art.14165&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Indie/Alternative</category>
<pubDate>Sun, 13 Dec 2009 10:14:05 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Black Rebel Motorcycle Club</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.14165&amp;variant=data&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Black Rebel Motorcycle Club -- named after the gang in the Brando-centric film <I>The Wild One</I> -- meander along in a world seemingly ruled by simple rock 'n' roll riffs, snatches of psychedelia, words sung in a bored and lazy manner and, quite possibly, heavy downers. That said, their music is as addictive as the drugs they may or may not be on, with expert builds, solid musicianship and a consistent mood throughout.
- Will Lerner]]></description>
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<title>The Brian Jonestown Massacre</title>
<link>http://www.rhapsody.com/goto?rcid=art.4732&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Neo Psychedelic</category>
<pubDate>Sun, 20 Dec 2009 09:42:38 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Brian Jonestown Massacre</rhap:artist>
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<description><![CDATA[The Brian Jonestown Massacre was formed in 1990 in San Francisco's Haight-Ashbury neighborhood and have since created work rooted in the many musical grounds of the mid- to late '60s, often grafted with British-inspired shoegazing and mantra drones. They've been through forty members and are notorious for fighting on stage and inciting riots in music halls. Much of their music is also influenced by drugs and mental illness -- the title of their '98 release is <i>Strung Out in Heaven</i>. Although their playing is saturated in '60s technique, they still manage to pull relevant sonics from their vintage gear. As the band's front man and songwriter, Anton A. Newcomb continues to write and record; his songs improve in arrangement, melody, production and overall sound quality. The 2004 award winning documentary <i>Dig!</i> brought the Brian Jonestown Massacre a much wider audience. The band's percussion player Joel Gion formed a similar sounding (but more pop based) band called the Dilettantes in 2005.
- Eric Shea]]></description>
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<title>My Bloody Valentine</title>
<link>http://www.rhapsody.com/goto?rcid=art.706&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Shoegazer</category>
<pubDate>Sat, 10 Oct 2009 10:13:27 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">My Bloody Valentine</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.706&amp;variant=data&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[UK group My Bloody Valentine's countless fans feel about Kevin Shields' guitar chords the way Christians feel about the gospel. Each of the eternally dense chords seems to contain a glimmer of truth. To follow their career from their early Jesus and Mary Chain/noise pop songs to their 1991 masterpiece <I>Loveless</I> is akin to a history lesson in how to transform a guitar chord into a crushing wave of sonic density. Like John Coltrane's later works, MBV tracks are simultaneously oppressive and uplifting -- their elegantly overwhelming orchestrations are so profound that you'll feel transformed by their might. Each track feels absolute, as if nothing could be more intense; listening to their music is to touch the sublime.
- Marc Kate]]></description>
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<title>Lightning Dust</title>
<link>http://www.rhapsody.com/goto?rcid=art.15119047&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Dream Pop</category>
<pubDate>Thu, 6 Aug 2009 10:39:42 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<description />
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<title>American Analog Set</title>
<link>http://www.rhapsody.com/goto?rcid=art.14611&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Dream Pop</category>
<pubDate>Wed, 23 Dec 2009 13:31:19 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">American Analog Set</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.14611&amp;variant=data&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[These post-adolescent Shoegazers might be as exciting to watch as a Low concert, but if you take them home and chill to this music you will be pleasantly surprised. What sets the American Analog Set apart from the new generation of footwear-studying enthusiasts is that they exude a refreshingly original take on Dream Pop and Noise Rock rather than regurgitating what came from Thames Valley, England, ten years ago (sorry, Mogwai). Tripled-up, one-string electric guitar arrangements and hushed vocals work well with wistful tones and melodies you could just cry to.
- Eric Shea]]></description>
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<title>Loquat</title>
<link>http://www.rhapsody.com/goto?rcid=art.5671&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Dream Pop</category>
<pubDate>Fri, 25 Dec 2009 11:18:07 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Loquat</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.5671&amp;variant=data&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[A soothing massage of celestial sounds emanates from San Francisco's Loquat. This quintet marbles a periodic table of musical elements to create embryonic Trip-Hop and wistful, ceruleanic Dream Pop. Kylee Swenson's angelic vocals coo, whisper and sing cryptic, cathartic lyrics of moving poetry. Along with her textured inflections, the underwater daydream soundscapes make Loquat perfect music for Sunday morning come-downs.
- Eric Shea]]></description>
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<title>Ivy</title>
<link>http://www.rhapsody.com/goto?rcid=art.63454&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Dream Pop</category>
<pubDate>Wed, 5 Aug 2009 11:17:57 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Ivy</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.63454&amp;variant=data&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Ivy are a trio out of New York City fronted by Parisian expatriate Dominique Durand. Specializing in deceivingly sunny jangling pop, they've managed to eke out a niche for themselves that combines Durand's chanteuse-styled vocals (recalling Stereolab's Laetitia Sadier, without the Marxist patter) and guitar work and intelligently sculpted pop that recalls Johnny Marr (without the multi-tracking). The band released an early 7" and EP (which featured a fine cover of Orange Juice's "I Guess I'm Just A Little Too Sensitive") before releasing their debut <I>Realistic</I> in 1995. Former Ultra Vivid Scene-ster Kurt Ralske was recruited to produce, and the record managed to balance ultralight vocals with crisp, clear guitar work underneath the sort of doe-eyed melancholy that comes from reading old love letters. <I>Apartment Life</I> (1997) managed to further this formula, this time with help from people like Lloyd Cole, James Iha, and Dean Wareham.
- Jon Pruett]]></description>
</item><item>
<title>Ulrich Schnauss</title>
<link>http://www.rhapsody.com/goto?rcid=art.6302764&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Ambient</category>
<pubDate>Sun, 6 Dec 2009 09:55:35 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.6302764&amp;variant=data&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[German indie producer Ulrich Schnauss mixes lush instrumentation and thick-layered synthesizers for a sound that lies somewhere between '80s dream pop and modern shoegazer. Hailing from the small German town of Kiel, Schnauss began making music and sending demos anonymously to famed German label CCO. These songs would eventually make up his debut album, <i>Far Away Trains Passing By</i>. Schnauss' meticulous song construction is born out of a love for such indie artists as My Bloody Valentine and the Cocteau Twins.
- Jamie Sanchez]]></description>
</item><item>
<title>Cass McCombs</title>
<link>http://www.rhapsody.com/goto?rcid=art.6876421&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Dream Pop</category>
<pubDate>Wed, 8 Jul 2009 13:07:50 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<description />
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<title>David Sylvian</title>
<link>http://www.rhapsody.com/goto?rcid=art.2533&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Dream Pop</category>
<pubDate>Wed, 4 Nov 2009 12:13:58 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">David Sylvian</rhap:artist>
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<description><![CDATA[After leaving experimental synth glam outfit Japan, David Sylvain began a sonic journey into the enchanting realm of ambient music to gain almost as much credibility in the field as Brian Eno. He teamed up with composer Ryuichi Sakamoto for his first solo single, "Bamboo Houses" before the two embarked upon scoring the film <I>Merry Christmas, Mr. Lawrence</I>. The success of their chemistry paved the way for an ongoing musical partnership.
- Eric Shea]]></description>
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<title>Hooverphonic</title>
<link>http://www.rhapsody.com/goto?rcid=art.3155&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Trip-Hop</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=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Hooverphonic</rhap:artist>
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<description><![CDATA[From Belgium, this ambient pop/electronica group initially was led by Liesje Sandonis on their debut, <I>A New Stereophonic Sound Spectacular</I>. Since then, they have been guided by the voice of Geike Arnaert. Hooverphonic have the depth and minor quality of Portishead and their heavy use of ambient synth is comparable to the new age sound of Enya. Their hit single "2 Wicky," built around a loop from the Isaac Hayes' classic version of "Walk On By," falls nicely in the Trip-Hop category, yet doesn't represent their rock-driven sound evidenced on such albums as the 2000 release <I>The Magnificent Tree</I>.]]></description>
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<title>Sun Kil Moon</title>
<link>http://www.rhapsody.com/goto?rcid=art.67294&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Indie/Alternative</category>
<pubDate>Thu, 19 Nov 2009 15:24:33 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Sun Kil Moon</rhap:artist>
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<description><![CDATA[San Francisco singer/songwriter Mark Kozelek has put out three solo albums under his own name, but that's still not enough for the seemingly insatiable musician. When he's not working in the latest Cameron Crowe or Steve Martin movie, he ducks back into the studio to create even more music. In the 1990s, he helmed the dream pop band Red House Painters, but more recently he has been pulling the strings for Sun Kil Moon, a project that began in 2002. Their first release was 2003's <I>Ghosts of the Great Highway,</I> a somber yet affectionate take on pop culture. This disc not only highlighted Kozelek's more obvious talents -- his haunted and austere vocals and sparse acoustic guitar playing -- but also revealed a more lighthearted side to him. It seems membership in this oddly-titled outfit has unleashed a frivolity never before witnessed in the musician. In 2005, SKM released <I>Tiny Cities,</I> which paid tribute to 12 of Kozelek's favorite artists, from the heavy rock of AC/DC and Kiss to the endearingly sloppy indie of Modest Mouse. After that, the band appeared on <I>Take Me Home: A Tribute to John Denver,</I> a double disc that Kozelek produced. By covering these unlikely musicians and songwriters, the formerly dour musician achieved a new level of abandon and accomplishment; along with his eccentric vocal style and idiosyncratic tempo shifts, he makes what is not his own completely original.
- Michele K-Tel]]></description>
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<title>Keren Ann</title>
<link>http://www.rhapsody.com/goto?rcid=art.6082386&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Dream Pop</category>
<pubDate>Wed, 16 Dec 2009 11:55:59 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Keren Ann</rhap:artist>
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<description><![CDATA[A singer-songwriter who pinpoints emotional moments in time with a cool, almost detached style, Keren Ann's delicate, subtle songs grow richer and cut deeper with repeated listening. Keren Ann Zeidel spent her early years in her parents' respective countries of origin -- Holland and Israel -- before settling in Paris at the age of 11. She eventually took to 1960s and '70s guitar pop and '50s vocal jazz and fell in with a group of like-minded musical artists such as Benjamin Biolay, his sister Coralie Clement and Vincent Delerm (European cohorts would include Sondre Lerche, Kings of Convenience and Belle & Sebastian.). After playing in various bands, Keren Ann signed with EMI in 2002 and collaborated with the prodigiously talented Biolay on her solo debut, <I>La Biographie de Luka Philipsen</I>. The album's lovely mix of bittersweet folk-pop, swirling '60s orchestral arrangements and discreet modern downtempo elements was an immediate popular and artistic hit in France. Keren Ann and co-songwriter/arranger Biolay were so productive that they followed the debut up with the sparser <I>La Disparition</I> (The Disappearance) the same year (!) and the album was almost as impressive as their debut. As a lark, Keren Ann recorded a set of unaccented English language demos on her own and was surprised to find that her record label wanted them released. Beefed up by Biolay's typically subtle arrangements, the set was recorded as <I>I'm Not Going Anywhere</I> (2004) and earned the singer an American distribution deal and rave reviews on both sides of the pond. Dividing her time between Paris and New York, Keren Ann crafted the home-recorded <I>Nolita</I> (2005), her first bilingual album and her first without Biolay on board. It once again touches on themes of dislocation, solitude and memory, all handled with the calm, collected and slightly mysterious manner that has become her trademark.
- Nick Dedina]]></description>
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<title>The Innocence Mission</title>
<link>http://www.rhapsody.com/goto?rcid=art.4465&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Adult Alternative</category>
<pubDate>Fri, 1 Jan 2010 10:23:49 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Innocence Mission</rhap:artist>
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<description><![CDATA[When the Innocence Mission released their debut record back in '89, they were quickly lumped in with the literate, Mom-friendly work of the 10,000 Maniacs. The stark beauty and isolation conveyed by Karen Peris' vocals in "Wonder of Birds" merited much more than the slight airplay the single received. Her mature, poetic lyrics and the band's fluid acoustic playing were often undermined by the all too crisp production. With each of their four records, the band has managed to become progressively more interesting by stripping away superfluous production elements, drawing full attention to their calm, hazy vocals and simplified instrumentation while garnering mass critical acclaim and minimal public appreciation.
- Jon Pruett]]></description>
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<title>School Of Seven Bells</title>
<link>http://www.rhapsody.com/goto?rcid=art.16344953&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Dream Pop</category>
<pubDate>Fri, 18 Dec 2009 12:07:38 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">School Of Seven Bells</rhap:artist>
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<description><![CDATA[Fuzzed-out, rhythmically expansive and possessing heavenly harmonies, the Brooklyn trio School of Seven Bells creates a vaguely psychedelic, partly electronic pop as trippy and gratifying as a good night of dreaming. It's also worth waking up for. Begun as a side note in '04 by Benjamin Curtis (then of Secret Machines) and the sisters Alejandra and Claudia Deheza (then of On! Air! Library!), the project soon blossomed into a priority (they all quit their previous bands). An '07 single for the experimental label Table of the Elements (featuring a lo-fi tribal dance version of "Face to Face on High Places") was followed by early support (in the form of remixes) from kindred spirits Prefuse 73's Scott Herren and Cocteau Twin Robin Guthrie; such touchstones perfectly encapsulate the width of group's sound. Their '08 debut album, <I>Alpinisms</I>, has tweaked these reference points into a Technicolor studio vision -- higher fidelity, shoegazer guitars set on stun, a global palette of tonalities, a mixture of live and programmed beats -- without ever losing the band's seemingly inherent sense of tunefulness. The School can sound like Animal Collective lullabies, updated Sinead O'Connor epics or Peter Gabriel's pan-global surges: always hummable, rarely humble.
- Piotr Orlov]]></description>
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<title>Secret Machines</title>
<link>http://www.rhapsody.com/goto?rcid=art.57067&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Space Rock</category>
<pubDate>Thu, 12 Nov 2009 19:09:53 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Secret Machines</rhap:artist>
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<description><![CDATA[Graduates from the University of Audio Alchemy, the Secret Machines create music that's just as mechanical as it's organic. Intricately arranged symphonies of distorted analog sounds soar upward alongside digital accoutrements before being blown apart by what sounds like fireworks. The Machines channel a myriad of influences, blending Pink Floyd's early space rock romanticism with Neu's static-happy electro drones, and Spiritualized's post-shoegazer tremolos with My Bloody Valentine's warbling walls of guitar effects. Singer Ben Curtis has a Flaming-Lips-by-way-of-Neil-Young style on some songs but seems most at home when accompanied by two-part vocal harmonies. Their music flirts heavily with various psychedelic styles, but you don't need to take mind-bending drugs to enjoy it.
- Eric Shea]]></description>
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<title>Hem</title>
<link>http://www.rhapsody.com/goto?rcid=art.39991&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Alt Country</category>
<pubDate>Fri, 1 Jan 2010 10:23:00 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Hem</rhap:artist>
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<description><![CDATA[Not too many bands put their future on the line as much as New York's Hem. They formed in 1999 after would-be band members answered an ad in the <I>Village Voice</I> placed by an aspiring female vocalist who had only recorded a tape of herself singing lullabies to a friend's child. All members of the band went bankrupt from recording and putting out their gossamer <I>Rabbit Songs</I> album (flying the entire band overseas to the Slovak Republic to record with the world renowned Slovak Radio Orchestra isn't a frugal endeavor). But one listen to this magnum opus and you will understand what they really did was pay for sonic perfection. What does perfection sound like? For starters singer Sally Ellyson has the kind of angelic voice that you want to lull your own children (and inner child) to sleep. The aforementioned 18-piece orchestra adds layers of classical finesse over a patchwork quilt of traditional Americana textures like fiddles, pedal steels, banjos and acoustic guitars. But it's Hem's songwriting that keeps things sounding as fresh and bright as a prairie peppered with wild purple heather. To put it more bluntly, Hem make the Cowboy Junkies sound like Motorhead.
- Eric Shea]]></description>
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<title>The Helio Sequence</title>
<link>http://www.rhapsody.com/goto?rcid=art.7188&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Dream Pop</category>
<pubDate>Thu, 12 Nov 2009 19:09:56 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Helio Sequence</rhap:artist>
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<description><![CDATA[Pristine psychedelia with loads of vintage guitar sounds, spare bass, and sweeping flange sounds. These warm and weathered guitars are so authentically vintage, you'll be dreaming of bell bottoms and old Vox tube amps.
- Rosemary Pepper]]></description>
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<title>The Pains of Being Pure at Heart</title>
<link>http://www.rhapsody.com/goto?rcid=art.21379832&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Indie Pop</category>
<pubDate>Mon, 21 Dec 2009 09:57:31 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Pains of Being Pure at Heart</rhap:artist>
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<description><![CDATA[Brooklyn should be renamed the Hipster Laboratory for Retro Research. Pick any underground music trend of the last 30 years, and the New York borough has produced a smattering of near-perfect clones. We all know about no wave and post-punk, so lets a look at twee: In addition to the Vivian Girls, there's Crystal Stilts, Cause Co-Motion! and the excellently named Pains of Being Pure at Heart. As with those other bands, the Pains reproduce the fuzzy, lo-fi pop of the Pastels, the Vaselines and Black Tambourine with startling precision. It all started in 2007 when the band came together specifically for the purpose of playing their friend Peggy Wang-East's birthday bash (who just so happened to be group's super-cute keyboardist). Not long after, they released their debut EP, which boasts one of the best song titles ever: "This Love Is F*ck*ng Right!" The Pains might come off all innocent, cuddly and, uh, pure, but don't let them fool you. They are razor-sharp stylists. Things don't get any more nod-and-wink wink self-conscious than the single "Kurt Cobain's Cardigan." The tune is a loose, two-layered homage to the Vaselines' "Son of a Gun" and Nirvana, who once covered the song.
- Justin Farrar]]></description>
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<title>Rasputina</title>
<link>http://www.rhapsody.com/goto?rcid=art.380&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Baroque Pop</category>
<pubDate>Sat, 24 Oct 2009 12:08:42 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Rasputina</rhap:artist>
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<description><![CDATA[Although Rasputina have put out a couple of albums on Sony and Instinct, they would fit right in on the 4AD roster next to groups like His Name Is Alive and Dead Can Dance. Not that they're derivative of anything discovered by 4AD honcho Ivo Watts-Russell -- it's just that their pseudo-gothic chamber pop shares the same art-school sensibility as the aforementioned groups. Singer-songwriter Melora Creager, a classically trained cellist/dulcimer player who joined Nirvana's backline on their final tour, birthed Rasputina in the early 1990s. She and cellist/singer ZoÃ« Keating wear frayed Victorian dresses to bring out the sense of antiquity in their shadowy siren soundscapes. Their dark vision caught the ears (and eyes) of Marilyn Manson, who played keyboards and remixed songs on their 1997 EP, <I>Transylvanian Regurgitations</I>. At times, the New York band sounds like a string ensemble for the late Anton LaVey's Satanic Mass; at other moments, they come across as the bastard children of the Incredible String Band who got chainsaws and cellos to play with at a dangerously young age. 2004's <I>Frustration Plantation</I> offers intertwining cellos, a delightful narrative of dark Edwardian humor, and the six-stringed electric madness of guitarist Jonathan TeBeest, Rasputina's first male member.
- Eric Shea]]></description>
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<title>Luna</title>
<link>http://www.rhapsody.com/goto?rcid=art.63468&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss</link>
<category>Dream Pop</category>
<pubDate>Sat, 10 Oct 2009 10:13:30 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Luna</rhap:artist>
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<description><![CDATA[In the wake of Galaxie 500's acrimonious breakup following their 1990 swansong <i>This Is Our Music</i>, Dean Wareham formed Luna to satiate his poppermost desires. As acting guitar hero extraordinaire for the Dream Pop crowd, Wareham's vision of weightless, guitar-based pop -- as complemented by jiggling rhythms and his own signature lyrical sarcasm -- came to beautiful fruition on Luna's 1992 debut <i>Lunapark</i>, which featured the driving "Anesthesia" and the elegiac "Goodbye." Subsequent Luna records throughout the 1990s reinforced the band's mastery of space-pop with a jarring rhythmic edge, the pinnacle of which was reached on 1995's glorious <i>Penthouse</i>. That album's best moments -- the smooth-as-fresh-pavement "Chinatown," the ringing guitar hook on "Sideshow By The Seashore," and the arrestingly dynamic "Freakin' And Peakin'" -- portray Luna at their apogee as a most forceful, yet elegantly graceful pop outfit. Four years later, they began covering Guns N' Roses songs on record, a development that usually spells the beginning of the end for any band.
- Charles Hodgkins]]></description>
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<title>Kill Hannah</title>
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<category>Alt/Punk</category>
<pubDate>Thu, 31 Dec 2009 11:23:01 -0800</pubDate>
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<rhap:artist xmlns:rhap="rhap">Kill Hannah</rhap:artist>
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<description><![CDATA[Chicago's Kill Hannah blend glam's passion for fashion, post-grunge's enthusiastic power, shoegazer's wall-of-guitar, and dream pop's tender psyche into something deserving of krieg lights and onstage pyrotechnics. Whether they're blasting out of suburban ennui (their anthems) or the hungover prose of chemical escape (trip-hop with the right mix of slow, grinding bass and machined percussion), Kill Hannah's unwavering knack for pop hooks suckerpunch the ears and excite your inner adolescent.
- Chad Driscoll]]></description>
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<title>Belly</title>
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<category>Dream Pop</category>
<pubDate>Tue, 8 Dec 2009 09:16:42 -0800</pubDate>
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<rhap:artist xmlns:rhap="rhap">Belly</rhap:artist>
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<description><![CDATA[After leaving half-sister Kristin Hersh's band Throwing Muses, singer-guitarist Tanya Donelly began Belly -- a catchy, guitar-driven Indie pop band decidedly more direct and accessible than the Muses. At the fore was her breathy alto and love for syrupy-sweet, guilty pop pleasure, as evidenced by her first chart-topper "Feed the Tree."
- Kelly Bauman]]></description>
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<title>Saint Etienne</title>
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<category>Dream Pop</category>
<pubDate>Fri, 4 Dec 2009 13:19:30 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Saint Etienne</rhap:artist>
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<description><![CDATA[In the early '90s, when most Synth Pop bands were being passed over in favor of more aggressive Grunge acts, Saint Etienne managed to grab the attention of alterna-pop Euro-philes with their debut album, <i>Foxbase Alpha</i>. Breaking away from the gloomy sounds of New Wave, the trio sought to pay homage to the pure pop of '60s London. Embracing the dreamy disco of the '70s and the rhythms of the '90s club scene, the trio continues to combine shoulder-swaying, foot-tapping Euro-pop with a hodge-podge of contemporary dance styles. With the wispy vocals of singer Sarah Cracknell floating above bass-heavy hip-hop beats, R&B-influenced slow jams, and driving Techno, Saint Etienne is Disco for fans of Indie pop -- an Ace of Base with underground cachet.
- Shailesh Rao]]></description>
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<title>Catherine Wheel</title>
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<category>Shoegazer</category>
<pubDate>Sat, 10 Oct 2009 10:13:27 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=169&amp;rws=%2Falt-punk%2Findie-alternative%2Fdream-pop%2Fartist-chart.rss">Top Dream Pop Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Catherine Wheel</rhap:artist>
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<description><![CDATA[Catherine Wheel's six records are noisy, blissful displays of excellent pop songcraft and tasteful yet explosive guitar textures. Though the band has been largely ignored since <i>Ferment</i> (1992), their ensuing albums have shown the band moving into more complexly rhythmic, jaggedly percussive territories and embracing guitar-driven pyrotechnics with more fervency than ever. From this era of whitewashed beauty comes the outfit's most simultaneously beautiful and abrasive work to date. Sadly, without the attention and unassailable status enjoyed by the genre's definitive acts (see: My Bloody Valentine, Ride, Swervedriver), Catherine Wheel continue to evolve in the shadows for a small but devout group of fans.
- Kelly Bauman]]></description>
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