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<title>Top Industrial Artists on Rhapsody Online</title><link>http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link><description>Top Industrial Artists on Rhapsody Online</description><category>Industrial</category><language>en</language><ttl>720</ttl><pubDate>Tue, 29 Dec 2009 02:43:23 -0800</pubDate><image>
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<title>Nine Inch Nails</title>
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<category>Industrial</category>
<pubDate>Wed, 9 Dec 2009 10:53:41 -0800</pubDate>
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<description><![CDATA[Nine Inch Nails is a one-man industrial-rock band whose symphonic noise and intense lyrics articulate an alienation and rage that have attracted a wide audience. The diviner of this millenarian angst is Trent Reznor, who writes, arranges, performs, and produces all of Nine Inch Nails' material.<br><br>
Reznor grew up isolated in small-town Pennsylvania, where he studied classical piano as a kid, switching to keyboards and playing in garage bands as a teen. He dropped out of Pennsylvania’s Meadville College, moved to Cleveland, and recorded a self-made demo. That tape got him signed to TVT, an independent label best known for compilations of TV jingles.<br><br>
<i>Pretty Hate Machine</i> was coproduced by Flood (Depeche Mode, U2), John Fryer (Love & Rockets, Cocteau Twins), and Adrian Sherwood and Keith LeBlanc. It yielded three college-radio hits, most notably “Head Like a Hole,” the video for which got extensive MTV play. Although the album vented an extremely dire, introspective outlook, it sold a million copies. This was at least in part due to the fact that Reznor assembled a band that spent three years on the road promoting <i>Pretty Hate Machine</i>, in the process dazzling audiences at the 1991 Lollapalooza Tour and opening for Guns n’ Roses in Europe. NIN spent so long touring because Reznor was suing to be released from TVT, who he said didn’t support him artistically or financially. Several other companies were interested in NIN, and when TVT wouldn’t let Reznor go, Interscope negotiated an agreement to corelease the band. Interscope also gave Reznor his own label, Nothing. <i>Broken</i> (Number Seven, 1992) was recorded during this period in a number of locations “without the permission of The Record Label,” as the liner notes say. The EP is an intensely devastated and devastating document, once again entirely masterminded by Reznor, with three tracks coproduced by Flood. NIN had Coil and Foetus’ Jim Thirwell remix tracks from <i>Broken</i> on <i>Fixed</i>.<br><br>
<i>Broken</i> debuted at Number Seven on the pop albums chart, while “Wish,” a track from the record, won a Grammy for Best Metal Performance. Reznor tested the freedom granted by his new record company on the video for “Happiness in Slavery,” which showed a man being sexually tortured and ground into a pulp by a machine - a visualization of NIN’s own tortured nature as a synth band venting human emotions and an apt metaphor for Reznor’s feelings about the music business. This was not the first controversial NIN video: “Sin,” from the first album, was refused by MTV for its images of genital piercing and gay men smearing blood on each other, while outtakes from “Down in It” were investigated by the FBI, which suspected that they were culled from a snuff film.<br><br>
Working on his next album in L.A., Reznor moved into the house where Charles Manson’s followers murdered Sharon Tate. Flood again coproduced, and the album featured guitarist Adrian Belew. <i>The Downward Spiral</i> (1994), a dense, depression-filled, and uncompromising work, debuted at Number Two on the chart and went on to sell 5 million copies.<br><br>
In the summer of 1994, NIN appeared at the Woodstock ’94. A version of “Happiness in Slavery” from the live album culled from performances at the festival earned NIN its second Grammy for Best Metal Performance. In 1996, Reznor coproduced shock-rocker Marilyn Manson’s Antichrist Superstar (the two men later had a falling-out). Reznor also produced the soundtracks for Oliver Stone’s <i>Natural Born Killers</i> (1994) and David Lynch’s <i>Lost Highway</i> (1997).<br><br>
Accolades from both the rock and mainstream press were pouring in by this time, with <i>Time</i> magazine naming Reznor one of the 25 most influential Americans. In 1999 NIN released its first studio album in five years, a despairing double CD called <i>The Fragile</i> (Number One). Working with a broader sonic palette than before, Reznor tempered his throbbing cacophony with moodier, subdued moments; ROLLING STONE hailed the record “a brutal and delicate masterpiece.” “The Day the World Went Away” debuted at Number 17 on the Billboard Hot 100 chart to become the first Top 40 single of NIN’s career.<br><br>
<I>All that Could Have Been</I>, a live disc and video documenting the Fragile tour cycle, followed in 2002. Reznor resurfaced three years later with another Number One studio album from Nine Inch Nails, <I>With Teeth</I>, which included the Number One Modern Rock singles “Every Day is Exactly the Same” and “Only.” NIN was slated to perform the anti-George W. Bush song “The Hand That Feeds” at the 2005 MTV Video Music Awards but dropped out when the channel refused to allow the group to perform in front of a large image of the president. The group toured through 2006, stopping briefly for Reznor to put together another set of studio tracks, and resumed touring in 2007. The bleak Orwellian concept album <I>Year Zero</I> (Number Two) arrived in April, spawning the Number One Modern Rock hit “Survivalism.” The album included a pre-release marketing campaign that involved an elaborate online alternate reality game offering fans clues to the album’s storyline, and a remixed version (<I>Y34R Z3R0 R3M1X3D</I>), offered fans the opportunity to contribute their own remixes of the tracks online. Reznor, long unhappy with the music industry, announced that October that <I>Year Zero</I> had been his contract-ending release for Universal Music Group and that he would release all future music independently. In 2008, within two months of each other, Reznor released two albums: <I>Ghosts I-IV</I>, an entirely instrumental album, was released in March and <I>The Slip</I>, released in May, was given away as a free download.
<br><br><i>Updated from The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001)</i>]]></description>
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<title>Marilyn Manson</title>
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<category>Industrial Metal</category>
<pubDate>Mon, 28 Dec 2009 09:24:43 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<description><![CDATA[Drawing inspiration from Alice Cooper, Ozzy Osbourne, David Bowie, the occult, horror comics, and, by his own admission, the King James Bible, Marilyn Manson established himself in the '90s as one of the most vilified agents provocateur in rock history. Predictably, the more parental groups, politicians and religious advocates protested his music and stage antics, the more Manson emerged as a martyr in the war against censorship. Charismatic and outspoken in interviews, he defended himself as a result of, rather than a cause of, a corrupt society.
<br><br>
Manson was born and raised Brian Hugh Warner in a middle-class family in Canton, Ohio. He was close to his parents but chafed at the ideologies and rules of his private Christian school. Seduced by rock during lectures about alleged evil messages embedded in the music, he took to rebellion and was expelled. Finishing at a public high school, he moved to South Florida with his family, and formed Marilyn Manson and the Spooky Kids in 1989 after a short stint in rock journalism. Each member of the group adopted a stage name patterned after Manson's, a female icon's name crossed with a serial killer's.
<br><br>
The band released a series of self-produced cassettes and attracted the attention of Nine Inch Nails frontman Trent Reznor, who signed them to Nothing, his Interscope imprint, in 1993. The following year, Reznor produced the group's industrial-metal debut, <I>Portrait of an American Family</I>, and took the band on tour with NIN. There, Manson wasted little time securing his status as a nightmare to the Christian right, exposing himself and feigning sexual acts onstage with other band members. (He was arrested after one show in Florida in what would become the first of several on- and offstage skirmishes that resulted in lawsuits.) He was made a "reverend" of the Church of Satan by founder Anton LaVey, though Manson would later note that he was no more a practicing Satanist than he was a practicing Christian, as he was baptized.
<br><br>
Nonetheless, the controversy &#8212; and a radio hit with a hard-rock cover of Eurythmics' "Sweet Dreams" &#8212; pushed the 1995 EP <I>Smells Like Children</I> to Number 31 and (eventually) platinum sales. With <I>Antichrist Superstar</I> (Number Three, 1996), Manson became a star. A brutally aggressive concept album about a nihilistic rock god, it spawned a stage show in which Manson ripped pages out of a Bible. Fueled by (false) rumors that the shows contained animal sacrifices, bestiality and rape, activist groups across America lobbied to ban the group's performances. In the midst of the furor, Manson cowrote an autobiography, <I>The Long Road Out of Hell</I>, with rock journalist Neil Strauss, in 1997, the same year as the <I>Remix & Repent</I> EP (Number 102) and his big-screen debut in David Lynch's <i>Lost Highway</i>.
<br><br>
For <I>Mechanical Animals</I> (Number One, 1998), Manson adopted a new persona, an androgynous, Ziggy Stardust-style glam rocker, Omega. He explained to interviewers that <I>Antichrist Superstar</I> and <I>Mechanical Animals</I> were part of a pseudoautobiographical trilogy, told in reverse order, with <I>Mechanical Animals</I> intended as a satire in which the protagonist's revolution becomes "sold out." The album went platinum like <I>Antichrist Superstar</I> before it, but the accompanying tour was derailed when Manson's music was blamed, along with violent video games, as a negative influence on the two teenage boys responsible for the Columine High School massacre in April 1999. Manson canceled several concert dates in light of the tragedy but vehemently distanced himself from it, decrying the killings as well as allegations that his or anyone else's music was responsible for the murders. (He appeared in Michael Moore's 2002 documentary <i>Bowling for Columbine</i> to discuss violence and the media.)
<br><br>
After a live album, <I>The Last Tour on Earth</I> (Number 82, 1999), Mason returned in 2000 with the final part of his trilogy, <I>Holy Wood (In the Shadow of the Valley of Death)</I> (Number 13). Telling the story of the future antichrist superstar's origins before his corruption, the album ditched the glam-rock sound of <I>Mechanical Animals</I> for a return to heavy, industrialized goth rock. Twiggy Ramirez left the band soon thereafter due to creative differences, but Manson continued on with <I>The Golden Age of Grotesque</I> (Number One, 2003), which was heavily influenced by Weimar-era Berlin and produced a Grammy-nominated single, "Mobscene." A best-of, <I>Lest We Forget</I>, followed a year later. By this time, the edge had slightly worn off of Manson's persona: <I>The Onion</I> satirized the rocker with the headline "Marilyn Manson Now Going Door-to-Door Trying to Shock People. He'd become more famous for his relationships: a brief engagement to actress Rose McGowan, a short-lived marriage to neo-burlesque queen Dita Von Teese and subsequent canoodling with 19-year-old actress Evan Rachel Wood, who appeared in the video for "Heart-Shaped Glasses (When the Heart Guides the Hand)," the first single from his 2007 album <i>Eat Me, Drink Me</i> (Number Eight). Manson reunited with Twiggy Ramirez for the album's Rape of the World Tour, citing Led Zeppelin's 2007 reunion as an inspiration.
<br><br>
Manson, who started producing his own brand of absinthe, has been working on the film <i>Phantasmagoria: The Visions of Lewis Carroll</i>, about the fantastical children's author, for several years (he is directing and starring in the lead role).
]]></description>
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<title>Rob Zombie</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.68979&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Alt Metal</category>
<pubDate>Mon, 28 Dec 2009 09:24:38 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<description><![CDATA[When Rob Zombie's first album, <I>Hellbilly Deluxe</I> sold better in its first week than any White Zombie album had managed to do, Zombie dissolved the group to pursue his solo career full-time. Since then, he has continued to explore his obsessions with horror movie shtick and sci-fi schlock, incorporating these themes into instantly accessible Industrial Metal grinders. Throwing himself utterly into his undead persona, Zombie has emerged as alternative music's premier purveyor of heavy, disco-metal grooves that break down the barricade between the mosh pit and the dance floor.
- Chad Driscoll]]></description>
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<title>Dope</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.15904&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Alt Metal</category>
<pubDate>Mon, 28 Dec 2009 09:24:38 -0800</pubDate>
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<description><![CDATA[Industrial-strength heavy metal with electronic beats and gurgling vocals. This roiling mixture of rap, hard-edged electronica and death metal works best on a cover of the N.W.A. classic "F*ck the Police."]]></description>
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<title>Sevendust</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.5741&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Alt Metal</category>
<pubDate>Wed, 16 Dec 2009 11:55:15 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<description><![CDATA[Sevendust seem to have the ideal primary ingredients for winning any metal lover's heart: aggressive, jagged-edged guitars churning out choppy heavy metal riffs, thunderous bass seething beneath growled, angry vocals and walloping drums that grind like a ten-year-old blender. Even their testosterone-injected, amphetamine-fed cover of Alice Cooper's "School's Out" makes the original seem innocuous by comparison.
- Kali Holloway]]></description>
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<title>Static-X</title>
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<category>Alt Metal</category>
<pubDate>Wed, 2 Dec 2009 11:06:57 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<description><![CDATA[Straight from the factory where they make, um, really heavy metallic things come Static-X, an industrial metal band who wield guitars like lead pipes. Beats punch through songs with the weight of a two-ton pile of compressed ore, while vocals are a low growl meant to scare the bejeezus out of parents world wide.
- Kali Holloway]]></description>
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<title>Mindless Self Indulgence</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.14791&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Metal</category>
<pubDate>Thu, 19 Nov 2009 15:23:07 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<description><![CDATA[The wild stage antics of Mindless Self Indulgence front man "Urine" caught the attention of Insane Clown Posse and earned the band the opening slot on their 1999-2000 tour. In the studio, MSI race through minute-or-so, industrially mutated hip-hop/metal tunes. Their off-center cover of Method Man's "Bring the Pain" went off like a pipe bomb in the face of new metal, leaving it pocked with shards of burning irony.
- Chad Driscoll]]></description>
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<title>Filter</title>
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<category>Contemporary Hard Rock</category>
<pubDate>Sun, 27 Dec 2009 10:14:27 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<description><![CDATA[Although Filter haven't abandoned the Industrial Metal formula that broke them big -- the combination of aggression and catchy riffs continues with songs such as "Welcome to the Fold" -- they offer quite a bit of diversity in their music. "Take A Picture" is dreamy and poppy, opening with acoustic guitars playing a progression that's positively folksy.
- Will Lerner]]></description>
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<title>Attack Attack</title>
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<category>Metalcore</category>
<pubDate>Tue, 22 Dec 2009 10:24:21 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<description />
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<title>Powerman 5000</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.75&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Alt Metal</category>
<pubDate>Sat, 19 Dec 2009 10:51:05 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.75&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.75&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Dark overtones and machine rhythms overshadow this experimental Industrial/Goth Rock band with songs from the food court.]]></description>
</item><item>
<title>Ministry</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.3986&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Metal</category>
<pubDate>Tue, 27 Oct 2009 09:26:51 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Ministry</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.3986&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.3986&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Despite the fact that they started out as a more pop-oriented goth band, Ministry's unspeakably abrasive, endlessly negative music remains pretty much definitive industrial metal. On top of that, we have singer Al Jourgensen to thank for the whole post-apocalyptic biker-cowboy look that led to sales of millions upon millions of full length black leather coats in the early 1990s. But more importantly was when Ministry released their 1988 album, <I>The Land of Rape and Honey</I>, it was clear that the music was genuinely unique in the mainstream and that they had created a sound as powerful and heavy (if not more so) than any alternative or metal band of the period. The band crossed those alternative and metal lines, drawing hordes of fans from each camp and helping along the eventual blurring of those traditionally opposite styles that occurred in the late '80s and early '90s with the onset of grunge rock and alternative metal. Ministry's influence (which can be felt even today in the industrial scene) was both musical and stylistic and the albums they put out during their peak (<I>Land Of Rape And Honey,</I> <I>The Mind Is a Terrible Thing to Taste</I> and <I>Psalm 69: The Way to Succeed & the Way to Suck Eggs</I>) actually stand up over a decade later. The band continues to release albums today and, to its credit, remains as Satanic and sex-obsessed as ever -- an aesthetic Nine Inch Nails may have taken to the top but Ministry invented.
- Mike McGuirk]]></description>
</item><item>
<title>White Zombie</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.36787&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Alt Metal</category>
<pubDate>Wed, 16 Dec 2009 11:55:14 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">White Zombie</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.36787&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.36787&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Rob Cummings and Shauna Reynolds realized their dream of combining tawdry B-movie aesthetics and rock 'n' roll (just as Kiss, the Misfits and the Cramps had before them) by forming White Zombie in 1985. Taking the band's name from a Bela Lugosi movie and changing their own names to Rob Zombie and Sean Yseult, the two recruited a lineup with backgrounds in heavy metal and electronica. <I>La Sexorcisto</I>, their 1992 Geffen debut, offered listeners a bump-and-grind horror show of the occult and borderline blasphemous. White Zombie excelled at turning dance beats into brutal dance beatings interspersed with unbreakable guitar submission holds. <I>Astro Creep: 2000</I> (1995) was this now-defunct band's finest hour -- a vision of sex and technology nearly as apocalyptic as J.G. Ballard's "Crash," while nearly as campy as <I>Mars Attacks</I>. The ramparts dividing Industrial and Metal had again been breached, and adult entertainers everywhere learned to remove their scanty habiliments to a whole new tune.
- Chad Driscoll]]></description>
</item><item>
<title>Fear Factory</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.3128&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Metal</category>
<pubDate>Thu, 3 Dec 2009 22:54:40 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Fear Factory</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.3128&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.3128&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Fear Factory obliterated the barriers that once divided Disco dance floors from concert hall mosh pits. One of the first really heavy metal acts to combine low, detonating power chords and Industrial dance beat rigor, these L.A. "rivetheads" set an example for countless acts to follow. Often following up their releases with dance-intensive remix albums on which various Industrial artists and DJ's were invited to appear, their willingness to experiment shook up a genre that had long since calcified into formal repetitiveness and inbred influences. Though later releases found the band leaning in a more melodic direction, they always retained the deep sonic wallop and grinding beats for which they're famous.
- Chad Driscoll]]></description>
</item><item>
<title>VNV Nation</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.12406&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Dance</category>
<pubDate>Mon, 9 Nov 2009 11:46:58 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">VNV Nation</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.12406</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.12406&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.12406&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Slick, club-oriented electronic tracks teeter on the elusive boundary between Euro-Trance and Darkwave. Thin melodies and dreary lyrics slide hopelessly over a sea of dark, shimmering synths like remnants from an oil spill off the coast of Greenland. A festival of gloom for those who find beauty in the dark.]]></description>
</item><item>
<title>Rammstein</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.42183&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Metal</category>
<pubDate>Sat, 19 Dec 2009 10:51:14 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Rammstein</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.42183&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.42183&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Rammstein, the internationally known (and often misunderstood) industrial metallers, formed in 1997 with the intention of making music that was "authentically German." The band has released five albums, found themselves in the middle of several controversies and become famous due to a thoroughly over-the-top live show and music that is danceable yet still heavy metal. The band members themselves describe their music as "dance metal." With growling, "r"-rolling vocals that can only be described as Panzer-riffic, and pulsing, super-charged rhythms, Rammstein tends to frighten people. And you can see why: playing up the homosexual German dancer look of super obscure (and weird) industro-dance pioneers D.A.F., the band appear naked and oiled at almost every opportunity, chase each other around onstage with dildos and exude some strange, comedic uber masculinity. All of this is meant to provoke people and nothing more. Granted, such deeply embedded cues tend to go over the heads of many of the teenagers attracted to the aggressive quality of the music, which is unfortunate. Musically, Rammstein is nothing short of archetypal, with fist-raising vocals and cement-slab beats, while each song hinges on, and is propelled by, an almost obsessive attention to rhyming. Infamously described as "music to invade Poland to."
- Mike McGuirk]]></description>
</item><item>
<title>Puscifer</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.8942674&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Metal</category>
<pubDate>Thu, 12 Nov 2009 09:55:35 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Puscifer</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.8942674</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.8942674&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.8942674&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>Stabbing Westward</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.4253&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Metal</category>
<pubDate>Sat, 19 Dec 2009 10:51:04 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Stabbing Westward</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.4253&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.4253&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[The happily-named Stabbing Westward began as a little known industrial-rock band based in Chicago -- the Liverpool of the genre -- in 1985. Though it took several years, the Christopher Hall-fronted outfit eventually signed to Columbia, whose roster had recently become more adventurous after a fallow period. The band's first album, 1993's <I>Ungod</I>, did little business, but they attracted a larger audience with their sophomore effort, <I>Wither Blister Burn and Peel</I> (1996), when the video for "What Do I Have to Do" scored Buzz Bin rotation on MTV. <I>Wither</I> went gold; perhaps even better, the briefly reformed Sex Pistols invited Stabbing Westward to open on their U.S. tour.<br><br>
The early American pioneers of industrial dance-rock music probably never imagined that a popularized version of their sound would be a commercial radio favorite within a decade (any more than the likes of the Replacements and the Pixies could have expected to find themselves echoed back in Kurt Cobain's voice 24 hours a day). But audiences can be fickle, and Stabbing Westward soon numbered among the many minor successes of the post-Cobain alt-rock bonanza. When a third album, <I>Darkest Days</I>, appeared in 1998, all ears seemed to be on the lite-pop likes of Matchbox 20, and the record failed to go gold. After being dropped by Columbia, the group issued its next, self-titled long-player on large indie Koch Records. The band broke up before issuing a fifth album. Interestingly, though, Columbia found the band bankable enough to be worthy of an entry in its <I>Essential</I> series, usually reserved for the likes of Bob Dylan, Johnny Cash and Bruce Springsteen. With the band members scattered, who knows what it means. But fans may find it worthwhile to stay tuned.
- Jaan Uhelszki]]></description>
</item><item>
<title>KMFDM</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.35995&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial</category>
<pubDate>Thu, 17 Dec 2009 10:44:26 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">KMFDM</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.35995&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Creating an unyielding audio assault since a multimedia performance in 1984, Kein Mehrheit Fur Die Mitleid (No Pity for the Majority) have taken dance track tactics to their extremes. A crushing synthesis of hip-hop beats and Industrial percussion is used as a concrete foundation for sinister instrumentation. Guitar riffs as dark and violent as Slayer's more hellish moments are strung tightly from oppressive washes of heavy synths. What separates KMFDM from most other Industrial Dance groups is their radical political content. Terrorizing, distorted vocals and spoken word sample arrangements posit that their position <I>Is a Drug Against War</I>.
- Marc Kate]]></description>
</item><item>
<title>Machine Head</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.62024&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Alt Metal</category>
<pubDate>Sat, 19 Dec 2009 10:51:11 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Machine Head</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.62024&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.62024&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Machine Head have made a name for themselves as being one of the most brutal-sounding bands of the '90s. When they came on the scene in the early to mid-1990s, their rhythms were of near-Industrial intensity, and their guitars were as explosive as if they were blasting for mineral resources. As the '90s progressed, so did their sound, as they became no less intense, but focused their energy toward more complex song structures. Machine Head could hardly be called Prog, but their aggressive stance evolved as they incorporated groove-oriented sounds and a more percussive, rap style of vocals, maintaining their positions at the crest of Metal's latest stylistic wave.]]></description>
</item><item>
<title>Orgy</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.38146&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Metal</category>
<pubDate>Sun, 27 Dec 2009 10:14:26 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Orgy</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.38146</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.38146&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.38146&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Heavy Alternative Metal riffs get a dose of melodic sensibility from a strong lead singer. Orgy has worked with members of Korn to forge their sound, which adds a taste of electronica to their sledgehammer guitars and pounding digi-drumming.
- Jessy Terry]]></description>
</item><item>
<title>Revolver1010</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.10257107&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Dance</category>
<pubDate>Sat, 2 Aug 2008 23:01:52 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Revolver1010</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.10257107</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.10257107&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.10257107&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>Lords of Acid</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.6870&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Dance</category>
<pubDate>Mon, 28 Dec 2009 09:24:36 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Lords of Acid</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.6870</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.6870&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.6870&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Lords of Acid leave little to the imagination. Their sex-obsessed, aural cheesecake dance cuts are a sweat-covered blend of pumping dance beats, industrial noise, and kitschy, S&M-themed lyrics. Songs like, "Rough Sex," and, "Spank My Booty," laugh in the face of subtlety.]]></description>
</item><item>
<title>Coal Chamber</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.3099&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Alt Metal</category>
<pubDate>Sun, 20 Dec 2009 09:42:19 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Coal Chamber</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.3099</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.3099&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.3099&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[To shock viewers into listening to (and ultimately purchasing) their music, Coal Chamber's MTV-friendly approach falls back on the Grand Guignol video style of artists like Tool, Trent Reznor and Marilyn Manson. Though not as scary or interesting as their videos, Coal Chamber's application of industrial solvents to disemboweling metal chops takes musical aggression to a novel extreme. Singer Dez Fafara sounds absolutely demonic -- the perfect cartoon voiceover for a village-destroying dragon -- while the rest of the band immolates their instruments in savage, sonic rites of pure mayhem.
- Chad Driscoll]]></description>
</item><item>
<title>Gravity Kills</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.155&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Metal</category>
<pubDate>Mon, 30 Nov 2009 10:01:04 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Gravity Kills</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.155</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.155&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.155&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[A punishing, overdriven hip-hop beat sets metal riffs and spacey psychedelic echoes in motion. Includes nods to militant Industrial execution and slick, radio-ready production.
- Marc Kate]]></description>
</item><item>
<title>Front 242</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.917&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Dance</category>
<pubDate>Wed, 2 Dec 2009 11:07:04 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Front 242</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.917&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.917&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[As a seminal Industrial Dance band, Front 242 effortlessly merge beats, noise, melody and aggression, creating some of the most potent "electronic body music" to ever possess manic club-goers. Emerging from Belgium in the early 1980s, the group is a cross between experimental, groundbreaking acts such as Cabaret Voltaire and Throbbing Gristle and tame, Pop Dance-oriented outfit Depeche Mode. What other Industrial band has a vocalist who shouts out the diva line "Now start to move and dance" with the tone of a Teutonic drill sergeant as a wall of percussion and minor key synth lines pounds out? Front 242 get away with it, because they make good dance music while still retaining power, solid song structure and intriguing synth sounds and samples. Their biggest hit, "Headhunter," is a prime example of this: the vocalist barks out aggressive, possibly homoerotic lyrics as the drums and synths charge ahead, keyboards and noises weaving in and out and coalescing at the chorus to create one of the most memorable and sweat-inducing anthems in the genre.
- Will Lerner]]></description>
</item><item>
<title>Apoptygma Berzerk</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.68656&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Dance</category>
<pubDate>Fri, 13 Nov 2009 12:38:21 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Apoptygma Berzerk</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.68656&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.68656&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Apoptygma Berzerk is the nom de guerre of Norwegian techno-goth Stephan Groth. Since the early 1990s, his songs have infiltrated the play lists of edgier dancefloors catering to Goth, Industrial, and fetish club-goers. The music of A.B. obliterates the semi-permeable lines of demarcation that once divided these scenes. If Skinny Puppy had been asked to remix Depeche Mode's <I>Black Celebration</I>, the end result may have been equally oppressive -- though without entirely abandoning a pop orientation. Fans' fervor for Apoptygma Berzerk, however, has less to do with the gloomy pallor of Groth's lyrics and more to do with his penchant for throbbing, irresistible beats. It's no small feat figuring out how to inspire sulky, black-bedizened club-crawlers to shrug off their pestilential gloom and pound the dancefloor in ecstatic unison; but if you're daring enough to venture out to your local Goth club, you can see it happening all the time -- thanks to Apoptygma Berzerk.
- Chad Driscoll]]></description>
</item><item>
<title>My Life with the Thrill Kill Kult</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.1007&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Dance</category>
<pubDate>Sun, 13 Sep 2009 09:19:44 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">My Life with the Thrill Kill Kult</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.1007&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.1007&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[As post-House beats crack against the floor like a whip against your back, a soundtrack of High Camp pageantry consumes your ears with fetish club anthems. My Life with the Thrill Kill Kult is a fearful phenomenon of decadence, drugs, Satan and nightclub excesses. Dense layers of slithering synth lines and sinister samples flood the mix with haunting, abject sounds that foreshadow a bad trip. The hedonistic pleasures of their psychedelic dance rhythms are eerily offset by dark, foreboding sounds that might be swelling out of the same recesses of your subconscious mind where your nightmares wait until you sleep.
- Marc Kate]]></description>
</item><item>
<title>Oomph</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.28447&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Metal</category>
<pubDate>Fri, 17 Jul 2009 13:25:45 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Oomph</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.28447&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.28447&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>Skinny Puppy</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.56968&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial</category>
<pubDate>Tue, 22 Dec 2009 10:24:23 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Skinny Puppy</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.56968&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.56968&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Listening to Skinny Puppy is a nightmare experience; many will find themselves right at home there. <I>Bites</I> and <I>Remission</I>, their first two efforts, were stunning accomplishments for their time, and their edges still cut today. Drawing on the influences of Cabaret Voltaire, Throbbing Gristle and Suicide, Ogre and cEVIN Key used synthesizers to extract beats that sucked backwards, notes that mapped themselves onto multidimensional sound grids, dehumanized "ghost in the machine" voices, and other etiolated audio oddities. With the production assistance of David Ogilvie, the band positioned itself at the fore of Industrial music's avant-garde and held that spot until their 1996 farewell release <I>The Process</I>. They pioneered the use of sampling to create a seamless fabric of hysteria as evidenced on <I>Mind: The Perpetual Intercourse</I> and <I>Cleanse Fold & Manipulate</I> -- dense palimpsests of cybernetic sounds and smash-and-grab samples that ranged from campy to overtly political. As the band matured, their material became increasingly personalized, outlining their battles with drugs and depression. <I>Too Dark Park</I> is particularly tough going, but may eventually be considered their masterpiece.
- Chad Driscoll]]></description>
</item><item>
<title>Revolting Cocks</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.68987&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Dance</category>
<pubDate>Thu, 1 Oct 2009 11:36:49 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.68987&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.68987&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[In the mid-1980s, when harsh, angular dance beats were coiling around unrepentant noise as Industrial music, Revolting Cocks created a muddy mess of what was often quite polished by others. Their approach to alienated dance beats, forceful basslines and vocal belligerence is a loosely assembled mess of aggression. The combined talents of Al Jourgensen (Ministry), Luc Van Acker and Richard 23 (Front 242) created some of the most confrontational music Wax Trax! Records had seen. Later work with artists William Rieflin, Chris Connelly, Paul Barker and others contributed to their sound as they incorporated everything from rap to thick, almost Metal Guitar approaches. Their legendary status is justified. Few bands have ever created a sound so nasty.
- Marc Kate]]></description>
</item><item>
<title>Kittie</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.8450&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Alt Metal</category>
<pubDate>Fri, 4 Dec 2009 13:19:34 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.8450</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Kittie</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.8450</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.8450&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.8450&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[All-girl Metal band from Canada brings together throbbing dance beats, samples, and super heavy, aggressive guitar sounds. The half-sung, half-chanted vocals are appropriately snotty.
- Tom Heyman]]></description>
</item><item>
<title>Combichrist</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.7071408&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Dance</category>
<pubDate>Fri, 9 Oct 2009 10:32:29 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Combichrist</rhap:artist>
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<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.7071408&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.7071408&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>Funker Vogt</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.6227&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Dance</category>
<pubDate>Fri, 11 Dec 2009 11:41:12 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
<guid isPermaLink="false">art.6227</guid>
<rhap:rcid xmlns:rhap="rhap">art.6227</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Funker Vogt</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.6227</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.6227&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.6227&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Updating the sounds of EBM in the latter half of the 1990s, Funker Vogt escalated German Industrial's alienated, rhythmic tensions to an aggressive, almost abusive sound. Electro and Techno rhythms are used as instruments of discipline to keep rushing arrangements well-ordered, but Funker Vogt's melodic/noise trajectories show no restraint. Cold blue pads wrap around jagged, ripping melodies before giving way to cascades of analog waveforms that flood your ears like a symphony. Like a cybernetic drill sergeant, vocals are issued like spewing acid that burns on contact.
- Marc Kate]]></description>
</item><item>
<title>Covenant (Techno)</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.46483&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Techno</category>
<pubDate>Sat, 3 Oct 2009 10:45:22 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Covenant (Techno)</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.46483</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.46483&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.46483&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description />
</item><item>
<title>Front Line Assembly</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.1132&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Dance</category>
<pubDate>Thu, 5 Nov 2009 16:49:40 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.1132</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Front Line Assembly</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.1132</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.1132&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.1132&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[The mid-1980s saw a great convergence of cool, synth-driven dance music infused with the dark menace of Industrial, and Front Line Assembly were one of the brightest sparks at this collision. They evoke politically barbed cynicism with found spoken word samples and harrowing, distorted vocals that sound like the clarion call of Armageddon. Synths emit sharp tones that evoke anxiety, piercing peaceful, passive listening through the diaphragm; dance beats roll into the mix, offering bleak, hedonist pleasure. Front Line Assembly's sinister Electro simultaneously embraces musical technology while distrusting the promise of innovation and progress.
- Marc Kate]]></description>
</item><item>
<title>Prong</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.69122&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Metal</category>
<pubDate>Fri, 30 Oct 2009 12:04:54 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Prong</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.69122</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.69122&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.69122&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Prong must be recognized as the progenitors of a martial style of Metal denuded of anything bluesy, grooving or fluid. Emerging from New York's Thrash scene with the scrappy <I>Primitive Origins</I> mini-LP (1987) , Prong quickly learned to tighten the screws on their sound, using drum machines and sampling. By the time <I>Cleansing</I> was released in 1994, the band was giving free reign to Industrial beats. Their rigid, succinct guitars are struck rather than strummed, and imperial marching beats sound (and often are) programmed rather than played. Their final albums beg remixing for futuristic combat video games.
- Chad Driscoll]]></description>
</item><item>
<title>Blaqk Audio</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.15257117&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Dance</category>
<pubDate>Wed, 7 Oct 2009 12:13:59 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:rcid xmlns:rhap="rhap">art.15257117</rhap:rcid>
<rhap:artist xmlns:rhap="rhap">Blaqk Audio</rhap:artist>
<rhap:artist-rcid xmlns:rhap="rhap">art.15257117</rhap:artist-rcid>
<rhap:play-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.15257117&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:play-href>
<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.15257117&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Not simply content as punk-pop stars and chart-toppers with their band AFI, Davey Havok and Jade Puget formed Blaqk Audio to experiment in a whole new genre --electronica. After years of putting off the project, the two finally had time off from touring with AFI to write and record Blaqk Audio's 2007 debut album,<i>CexCells</i>. With Havok in charge of lyrics and vocals and Puget behind the synths and software, the two dabble in a wide range of sounds, from dark-rooted industrial dance and EBM (Electronic Body Movement) to four-on-the-floor house, synth pop, goth and even downtempo. Producer Dave Bascombe, who has worked with Depeche Mode, Tears for Fears and Erasure, helped give the album a distinctive '80s touch with influences like Ministry and Front 242 shining through.
- Stephanie Benson]]></description>
</item><item>
<title>Sister Machine Gun</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.4878&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Dance</category>
<pubDate>Mon, 16 Nov 2009 10:52:29 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Sister Machine Gun</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.4878&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Spitting venomous vocals, Chris Randall fronts these Wax Trax! veterans through harsh, broken dance rhythms and biting guitars smeared with soot. Their terrain is dark and jagged, not far from harm's way.
- Marc Kate]]></description>
</item><item>
<title>Throbbing Gristle</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.56761&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial</category>
<pubDate>Wed, 4 Nov 2009 12:13:48 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Throbbing Gristle</rhap:artist>
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<description><![CDATA[The world of Throbbing Gristle is a large and complex one and any sort of concise description is necessarily an injustice to their art and legacy. The quartet of Genesis P-Orrige (later of Psychic TV), Peter Christopherson (later of Coil), Cosey Fanni Tutti and Chris Carter (both later of Chris and Cosey) created a great deal of noise (as music and in the press) with aggressive performances and media manipulations, but the debt we owe to them is the birth of Industrial music -- so named after their independent label Industrial Records. Though they are always given lip service for their important role in music history, their music is so challenging that even today it is greatly under-appreciated for its brilliance. Disgusted with rock music, they mishandled their guitars to produce intense dissonance, and created their own electronic instruments. Genesis' processed vocals and Cosey's trumpet produced a clarion call to psychic subversion. Their music was intentionally abrupt and abrasive, subversive and subliminal. They were more likely to use monotony for its psychological effects than melody for its emotional value. They used electronic noise as a compositional element and the most minimal rhythm programming as hypnosis. But for all their aural violence, their music was most akin to the Disco pulse of Giorgio Moroder or the electronic adventurousness of early Tangerine Dream than any Punk or Prog experiments. Their sound had no equal until they inspired artists like Monte Cazazza and Cabaret Voltaire to create similar sounds -- the beginning of Industrial music as a genre. Through time, many artists created a much watered-down, tamer version of their electronic cacophony with a much wider public appeal. Even people who appreciate Throbbing Gristle rarely claim to "like" their music. Art of this intensity is not for everyone.
- Marc Kate]]></description>
</item><item>
<title>Collide</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.15964&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Dance</category>
<pubDate>Sun, 11 Oct 2009 10:09:18 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Collide</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.15964&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Collide is an L.A. duo use white-hot industrial synth beats to solder together Goth atmospheres and chunky metal guitar riffs. Wafting, siren vocals slither through the air, calling fetish night disco goers to their own wet, sensuous, irresistible doom against the jagged rocks of crushing beats and grinds.
- Chad Driscoll]]></description>
</item><item>
<title>Abney Park</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.745&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Dance</category>
<pubDate>Sun, 11 Oct 2009 10:09:14 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Abney Park</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.745&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Abney Park work the darkest of musical sources, but with uplifting vocals -- their sound is anything but melancholy. Techno synths and disjointed beats.]]></description>
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<title>Meat Beat Manifesto</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.591&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Alt Dance</category>
<pubDate>Thu, 15 Oct 2009 10:59:47 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Meat Beat Manifesto</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.591&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Genre-transgressing electronic duo who some have labeled Industrial, some have dubbed Techno, and others have identified as Beats & Breaks pioneers. Hip-hop and Dub influences have also left a heavy impress on the band's technologically overwrought sound.
- Chad Driscoll]]></description>
</item><item>
<title>:wumpscut:</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.5238&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Dance</category>
<pubDate>Thu, 5 Nov 2009 16:49:36 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">:wumpscut:</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.5238&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Rudy Ratzinger's :wumpscut: is both the dictionary definition and the Platonic ideal of 1990s Industrial. His music is the bridge between the sounds of Front Line Assembly and the tech-noise of artists on Ant-Zen. He throws scrap metal EBM beats into keyboard dissonance that spews like lava. Rhythms run a straight line through dark, claustrophobic tunnels of circus melody parodies, seismically unstable pads and droning noise. Though :W: is rarely very complex, his tracks top you with their intensity; they are unrelentingly violent and push you to your pain threshold. As they pull you deeper and deeper into their unique horrors, Ratzinger's commanding voice rises up and screams of death and despair, but you cannot tell if he is cackling with amusement or shrieking in terror.]]></description>
</item><item>
<title>Slick Idiot</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.38998&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial</category>
<pubDate>Thu, 27 Aug 2009 09:55:54 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Slick Idiot</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.38998&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description />
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<title>Razed in Black</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.6183&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Dance</category>
<pubDate>Fri, 13 Nov 2009 12:39:03 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Razed in Black</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.6183&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[The endeavor of Hawaiian resident Romell, Razed in Black evokes the emotional dark side of sound. Since the mid-1990s, they have contributed to countless compilations, remixes and soundtracks to Hollywood and adult films and video games in addition to their three full-length releases. They generate overwhelmingly aggressive Coldwave with tense riffs and violent dance electronics that easily decay into fearsome ambient horrors. With countless artists creating guitar/dance beat crossover on the gothic side, Razed in Black are a godsend. Their production is seamless and their intensity is honest and unrelenting.
- Marc Kate]]></description>
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<title>Spindrift</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.43131&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Plunderphonic</category>
<pubDate>Fri, 10 Jul 2009 12:19:57 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Spindrift</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.43131&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[These guys sound like they broke into Negativland's studio and burned a CD-R of their own. Progressivemetalcyberexperimentalindustrial sounds that could only come from hands that once held 20-sided dice and lead figurines.
- Eric Shea]]></description>
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<title>Nitzer Ebb</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.69300&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial</category>
<pubDate>Fri, 18 Dec 2009 12:08:06 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Nitzer Ebb</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.69300&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description />
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<title>Velvet Acid Christ</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.6418&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Industrial Dance</category>
<pubDate>Sun, 6 Dec 2009 09:55:44 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Velvet Acid Christ</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.6418&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Unlike so many of their contemporaries, Velvet Acid Christ doesn't embark on a crusade of sonic cruelties. Instead, they release dark, subconscious horrors as sinister dance tracks. They intertwine the beats of early Skinny Puppy with austere Techno. Chilling synth lines are cloaked under unfurling, lush guitar layers -- like My Bloody Valentine locked in a dank wine cellar.
- Marc Kate]]></description>
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<title>Holy F*ck</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.9077724&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Alt Dance</category>
<pubDate>Fri, 4 Sep 2009 10:46:33 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Holy F*ck</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.9077724&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description />
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<title>Primer 55</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.5407&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</link>
<category>Rapcore</category>
<pubDate>Tue, 17 Mar 2009 20:36:20 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=239&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss">Top Industrial Artists on Rhapsody Online</source>
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<rhap:data-href xmlns:rhap="rhap">http://mp3.rhapsody.com/goto?rcid=art.5407&amp;variant=data&amp;rws=%2Falt-punk%2Findustrial%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[There's cold cruelty under the harsh but observed guitar noise of Primer 55. Crisp Industrial beats and processed screaming vocals.]]></description>
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