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<title>Top Dance Rock Artists on Rhapsody Online</title><link>http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1044&amp;rws=%2Falt-punk%2Fpost-punk%2Fdance-rock%2Fartist-chart.rss</link><description>Top Dance Rock Artists on Rhapsody Online</description><category>Dance Rock</category><language>en</language><ttl>720</ttl><pubDate>Tue, 8 Dec 2009 21:44:35 -0800</pubDate><image>
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<title>Top Dance Rock Artists on Rhapsody Online</title>
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<title>Talking Heads</title>
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<category>New Wave</category>
<pubDate>Fri, 4 Dec 2009 13:20:19 -0800</pubDate>
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<description><![CDATA[Art school and punk rock truly came head to head when the Talking Heads formed in 1974. Although they sported neither spiked hair nor pinned shirts, they perfectly embodied outsider outlandishness, and their stuttering vocals, choppy rhythms and detached lyrics fit right in at CBGB's. This phase wouldn't last long, however, as David Byrne's smartly subversive songwriting was bound to find an audience bigger than New York's punk rock elite. With <I>Fear Of Music</I> (1979), the band began to radiate a kind of somber power, as they beefed up their previously lean sound with African rhythms. <I>Remain In Light</I> followed in 1980, and remains one of the more striking albums of that decade or any other. The rhythms were meticulous and yet completely driving, while the production was highly experimental with enough conventional flourishes to make "Once In A Lifetime" a radio success. Their blueprint now set, the group became hugely successful over the course of the 1980s, and their 1984 concert film is widely considered one of the best ever made. Their music was so immediate that their world beat-inspired songs still sound unique in whatever context they're heard. The group gave official notice that it was disbanding in 1991, bringing an inevitable close to one of the most creative and experimental commercially successful acts in rock 'n' roll.
- Jon Pruett]]></description>
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<title>New Order</title>
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<category>Post-Punk</category>
<pubDate>Tue, 8 Dec 2009 09:16:48 -0800</pubDate>
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<description><![CDATA[New Order are frequently described as "survivors." Presumably, this refers to their days as Joy Division, which tragically ended with the suicide of vocalist Ian Curtis. They endured with the addition of Gillian Gilbert on keyboards, while guitarist Bernard Sumner took over vocals. "Survivors" might also refer to their evolution from the guitar-based post-punk of Joy Division to the increasingly synthetic sounds of their later records. But their survival instincts are truly indicated by the adept way they have evolved along with pop (and specifically dance) music. When "Blue Monday" hit dance floors in 1983, its grim atmosphere cast a dim shadow over the flickering disco lights and became an anthem for club kids tired of disco's naive, unyielding excesses. Their synthetic dirges were ubiquitous throughout the '80s. Their 1998 trance remix of "Confusion" for the <I>Blade</I> soundtrack pits raw electro sounds against bitter, fluid bass kicks. They have also maintained impeccable integrity keeping one foot in the mainstream and the other underground, generating colossal worldwide hits as well as disturbing, alienated tracks with depressive guitar echoes and sad synth melodies. Even their most elevated, ethereal moments are grounded in melancholy, but provide a vaulting spirit that gives solace to any wilted flower.
- Marc Kate]]></description>
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<title>Bloc Party</title>
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<category>Punk-Funk</category>
<pubDate>Fri, 4 Dec 2009 13:21:20 -0800</pubDate>
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<description><![CDATA[Bloc Party's tense, impassioned, guitar-addled pop has made for moments of clarity and serenity within the post-punk revisionist manifesto of 2005. The group, however stylish and fashionable, put forth an air of strong, melodic sensibleness combined with a backbeat that is quietly manic and danceable. Basically presented to the public on the backs of their friends in Franz Ferdinand, the band found an audience among people that had no right to expect anything more than a copycat band. Instead, they've been given an evolving, unique outfit that knows how to mix up euphoria and propulsive (at times convulsive) rhythms.
- Jon Pruett]]></description>
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<title>Hot Chip</title>
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<category>Electropop</category>
<pubDate>Mon, 7 Dec 2009 10:13:39 -0800</pubDate>
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<description><![CDATA[An underground UK phenomenon rapidly moving their way up the international ranks, Hot Chip began as the two-man production team of Alexis Taylor and Joe Goddard. The pair made beats and sang their soft falsettos in Goddard's bedroom and released their debut EP, <I>Mexico,</I> on a small London imprint in 2001. Hot Chip evolved their lazy, hip-hop inflected sound over the years, adding scraps of toy percussion and analog synths and taking on new members. They gained critical attention on the strength of 2005's <I>Coming on Strong</I>, their American debut, but it was 2006's Mercury Prize-nominated <I>The Warning</I> that exposed the band now a fulltime four-piece to larger audiences. While their albums are mostly laid back, toe-tapping disco affairs, their live shows are explosive and sweaty, especially for four pasty-white English guys playing synthesizers.
- Jonathan Zwickel]]></description>
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<title>Cut Copy</title>
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<category>Electropop</category>
<pubDate>Thu, 3 Sep 2009 10:32:55 -0700</pubDate>
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<description><![CDATA[Cut Copy began in 2001 as a one-man studio project of Australian DJ and producer Dan Whitford, who makes dance pop using elements of synth-based electronic music and indie rock. Whitford released an EP and single on his own in 2001, before adding guitarist Tim Hoey and drummer Mitchell Scott to a live lineup in 2003. Whitford played all the instruments on Cut Copy's 2004 debut LP, <i>Bright Like Neon Love</i>, but teamed up with French producer Philippe Zdar (Cassius, Motorbass and MC Solaar), and the album helped spawn a worldwide electro-house movement. On their second album, <i>In Ghost Colours</i>, Zdar was replaced by DFA Records co-founder Tim Goldsworthy and would take the group in a more indie rock and synth pop direction.
- Nate Cavalieri]]></description>
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<title>LCD Soundsystem</title>
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<category>Electronica/Dance</category>
<pubDate>Fri, 4 Dec 2009 13:19:37 -0800</pubDate>
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<description><![CDATA[New Jersey native James Murphy started out as a drummer for such bands as Speedking and Pony, but he tired of the politics and posing of the American punk movement and developed an affinity for house. Teaming up with Mo' Wax founder Tim Goldsworthy, Murphy started making a name for himself as a producer for acts on their Death From Above (aka DFA) label, including the Rapture and Radio 4. As his expertise in fusing dance and punk-rock developed, Murphy began to work on his own compositions, resulting in "Losing My Edge" (2002). This amusing invective about musical elitism caught the ear of the critics and defined his signature sound: bleepy electronica with thick "real" basslines and Mark E. Smith-style vocals. Indeed, Murphy has been quoted as saying that "The Fall are my Beatles," even though he is worried that such slavish devotion to Smith's vocal technique will inevitably invite some form of castigation from the man himself. Such was the popularity of "Losing My Edge" that Murphy decided to release "Yeah" (2004), which is essentially him saying "yeah" over and over to deliberately confound fans expecting another clever lyrical diatribe. Challenging expectations is Murphy's manifesto: he sees LCD Soundsystem as "a laboratory for experiments on what a band should be."
- Nicholas Baker]]></description>
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<title>CSS</title>
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<category>Electropop</category>
<pubDate>Mon, 24 Aug 2009 09:26:23 -0700</pubDate>
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<description><![CDATA[Though known in the U.S. mostly by their abbreviated handle, the proper name of Brazilian dance-rock sextet C.S.S. is Cansei de Ser Sexy, a Portuguese translation of a quip from Beyonce Knowles, who allegedly once claimed to be "tired of being sexy." The band formed in Sao Paulo in 2003 from a group of cross-connected art-scene socialites who eventually solidified a lineup consisting of vocalist Luisa Hanae Matsushita (who goes by the stage name Lovefoxxx), bassist Iracema Trevisan, guitarist Ana Rezende, and multi-instrumentalists Luiza Sa, Carolina Parra and Adriano Cintra. Under the keen musical direction of Cintra, a vet of Brazil's underground rock scene, C.S.S. found international attention for their high volume of downloads from Brazil's TramaVirtual, a music and social networking site. They self-released two EPs in 2004, <i>Em Rotterdam Ja e uma Febre</i> and <i>A Onda Mortal/Uma Tarde com PJ</i>, and issued their self-titled full-length LP on TramaVirtual's fledgling music label in 2005. It was re-released internationally on Sub Pop a year later, followed by wide international touring.
- Nate Cavalieri]]></description>
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<title>The Faint</title>
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<category>Electropop</category>
<pubDate>Sun, 1 Nov 2009 12:39:32 -0800</pubDate>
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<description><![CDATA[It's hard to imagine a band like the Faint coming out of Omaha, but if crops can be turned into automotive fuel, there's no reason this corn-fed quintet can't distill its own electronics-fueled version of high-octane indie rock. After an early start with the name Norman Bailer, whose lineup briefly included Bright Eyes' Conor Oberst -- the Faint built a local following before breaking out with 2001's <I>Danse Macabre</I>, which darkened indie songwriting with goth mascara (then spangled it with electro's shiny circuits). <I>Danse Macabre Remixes</I> brought them all the way over to the club, with help from remixers like Paul Oakenfold and Tommie Sunshine; subsequent albums <I>Wet From Birth</I> and <I>Fasciinatiion</I> have continued to burrow wormholes from the present day back to the '80s new-wave glory days.
- Philip Sherburne]]></description>
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<title>The Rapture</title>
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<category>Post-Punk</category>
<pubDate>Wed, 2 Dec 2009 11:07:38 -0800</pubDate>
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<description><![CDATA[Guitarist Luke Jenner and drummer Vito Roccoforte began playing together as the Rapture in 1998, moving from a 'burb of San Diego to San Francisco and, eventually, New York City. New York was where the band fit best; its debut LP, <i>Mirror</i>, ushered in the city's millennial fascination with disco-touched, danceable post-punk. After a revolving-door cast of sidemen, the Rapture eventually settled on bassist Matt Safer, who appeared on their 2001 Sub Pop-issued debut EP, <i>Out of the Races and Onto the Tracks</i>. After releasing 2002's "House of Jealous Lovers" single, they added multi-instrumentalist Gabriel Andruzzi to the lineup and went to work on the 2003 full-length <i>Echoes</i>. After wide touring and a small break, <i>Pieces of the People We Love</i> arrived in 2006. It was the band's debut on a major label, Mercury, and they pulled out all the stops, bringing in a host of producers that included DJ Dangermouse and choppering in Gnarls Barkley supervocalist Cee-Lo for backups.
- Nate Cavalieri]]></description>
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<title>Happy Mondays</title>
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<category>Alt Dance</category>
<pubDate>Fri, 4 Dec 2009 13:19:28 -0800</pubDate>
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<description><![CDATA[If the Stone Roses added a Beatles-esque tunefulness to the Madchester melee, then the Mondays brought with them the swagger of the Stones. Reckless, lawless and, if legend is to be believed, regularly legless, their piratical smash'n'grab on urban gloom, drug rock excess and acid house euphoria inspired a generation to 'get on one.' If they peaked with the string of singles released from third album <I>Pills'N'Thrills'N'Bellyaches</I>, their bleak comedown album follow-up <I>Yes Please</I> Â produced by Talking Heads' Chris Frantz and Tina Weymouth Â remains a lost classic. Irregular reunions have failed to dim their wayward legend.
- Paul Moody]]></description>
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<title>Gang of Four</title>
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<category>Post-Punk</category>
<pubDate>Sun, 22 Nov 2009 10:09:52 -0800</pubDate>
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<description><![CDATA[Like everyone from the Velvet Underground to Nick Drake, Gang of Four are one of those musical acts whose initial record sales didn't come close to equaling either their initial excellence or their continued influence. Founding members of the post-punk movement, Gang of Four formed in Leeds, England and came up with an inflammatory fusion of focused punk rock energy, stiff funk rhythms, blistering guitar feedback and intellectual lyrics that brimmed over with complex political and social theory (for example, one key track, "Damaged Goods" shows how the vocabulary of commerce has even transformed how we think about romantic entanglements). <I>Entertainment</I>, their brilliant 1979 debut hasn't lost any of its power over the decades, and while it remains Gang of Four's masterwork, they continued to create vital music. Their 1981 follow-up <I>Solid Gold</I>, is only slightly less powerful and contained the "birth of FM alt radio" staples "What We All Want" and "Cheeseburger." The album was quickly followed by <I>Songs of the Free</I>, a brave ÃÂÃÂ and successful -- change in direction. More complex song structures and less of a punk-funk influence informed the album's sound while the lyrics (except for the bitingly sarcastic new wave disco staple "I Love A Man In A Uniform") were more sorrowful on the subject of modern man's isolation than they were scathing. When bassist Dave Allen left the band, the gang of three softened up for <I>Hard</I>, an agit-pop reconfiguring of Roxy Music and Chic's swank musical universe. While the 1983 album is hardly essential listening, it does feature the excellent single "Is It Love," and the under appreciated track "Woman Town." The album was harshly criticized as a post-punk sellout (you'd think no one had ever heard New Order's single "Thieves Like Us," for Pete's sake) and Gang of Four folded soon after its release. Key members Jon King and Andy Gill reformed the band for 1991's <I>Mall</I>, which retained the same high quality musical and lyrical ideas as before but was missing the all-important element of pop craftsmanship that the band previously employed (there's a reason <I>Entertainment</I>, and not PIL's <I>Metal Box</I>, is the sound of today's crossover indie rock). By the late 1990s, kids not even born when <I>Entertainment</I> was released began getting signed to major labels with music that sounded an awful lot like the Gang of Four. This prompted the original band members to reform and headline a heralded, sold-out 2005 tour across Europe and the U.S. Gang of Four is currently working on a new album.
- Nick Dedina]]></description>
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<title>Le Tigre</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.10390&amp;rws=%2Falt-punk%2Fpost-punk%2Fdance-rock%2Fartist-chart.rss</link>
<category>Indie/Alternative</category>
<pubDate>Sun, 15 Nov 2009 11:03:39 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1044&amp;rws=%2Falt-punk%2Fpost-punk%2Fdance-rock%2Fartist-chart.rss">Top Dance Rock Artists on Rhapsody Online</source>
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<description><![CDATA[Though it's not really fair to the other members of her band, Le Tigre are Kathleen Hanna's (Bikini Kill, Julie Ruin, Suture, Fakes) outfit: her fingerprints are all over it. A continuation of the direction Hanna was following with Julie Ruin, Le Tigre's songs make a bold move toward quirky, DJ-fueled new wave. Guitars buzz like an angry mob of bees, pulsing in time with droning rhythms set by simple, stark drumbeats and plopping bass. Hanna's vocals dance to the music, sometimes unleashing their trademark snottiness, and toning things down to standard (yet still strong), early '80s pop at others. Always one to move in new directions, Hanna and company push into uncharted territory with Le Tigre, bringing farfisas, samples, DJs, beats, and quirky timing to their garage-friendly, digitally throbbing new wave.
- Mark Murrmann]]></description>
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<title>Klaxons</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.11962924&amp;rws=%2Falt-punk%2Fpost-punk%2Fdance-rock%2Fartist-chart.rss</link>
<category>Alt Dance</category>
<pubDate>Tue, 27 Oct 2009 09:26:52 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1044&amp;rws=%2Falt-punk%2Fpost-punk%2Fdance-rock%2Fartist-chart.rss">Top Dance Rock Artists on Rhapsody Online</source>
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<description><![CDATA[In an increasingly pressured, fiercely thought-out musical environment, Klaxons appear to cut an endearingly shambolic (and ridiculously dressed) figure: one minute banging out rave loops on their guitars, the next hurling around impenetrable Thomas Pynchon or Aleister Crowley references. That the behavior of their fans -- who turn up to gigs tricked out in brightly hued attire and brandishing glo-sticks -- has drawn as much attention as their recordings is charming. That music title <I>NME</I> grandly dubbed them the leaders of the "new rave" scene provides the final, hilarious accolade. Because if there's one thing that Klaxons are, with fine art graduate Simon Taylor-Davis and philosophy student Jamie Reynolds on board, it's acutely aware of how they're perceived. Roll that together with an avowed adherence to KLF media manipulators Jimmy Cauty and Bill Drummond's <I>The Method: How to have a Number One the Easy Way</I>, and suddenly their artistic venture makes a lot more sense. Which isn't to say that "Golden Skans", "Two Receivers" and "Atlantis to Interzone" aren't great tracks, more that if you take a step back from the music, the view's wonderful.
- Jamie Dolling]]></description>
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<title>Electric Six</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.61480&amp;rws=%2Falt-punk%2Fpost-punk%2Fdance-rock%2Fartist-chart.rss</link>
<category>Dance Rock</category>
<pubDate>Fri, 20 Nov 2009 12:50:54 -0800</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1044&amp;rws=%2Falt-punk%2Fpost-punk%2Fdance-rock%2Fartist-chart.rss">Top Dance Rock Artists on Rhapsody Online</source>
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<description><![CDATA[Electric Six are six (duh) people from near Detroit . But those people have changed constantly since the sextet's late '90s days as the Wildbunch; flamboyantly manly singer and side-splittingly showy songwriter Dick Valentine has been the sole constant. Among nonconstants, sillier monikers have included the Rock and Roll Indian, Dr. Diet Mountain Dew, Smorgasbord!, M. and Percussion World (appropriately, a drummer). The band's music is just as funny, but though they've averaged about one album a year since 2003, only their debut <i>Fire</i> -- which includes the top-five Brit hits "Danger! High Voltage" and " Gay Bar ," both inconclusively rumored to contain backing vocals by Jack White -- made much of a mass-cultural dent. It's a shame, because the albums since -- from 2005's <i>Senor Smoke</i>, featuring a wacky remake of Queen's "Radio Ga Ga," to 2008's wrongly slept-on <i>Flashy</i> -- have been consistent in their straight-faced but smirking re-imagining of mirror-balled early '80s AOR. No band has ever so expertly fused Falco with Foreigner. That the Six's recent releases have appeared on the sleaze-embracing industrial label Metropolis is somewhat hilarious in its own right.
- Chuck Eddy]]></description>
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<title>Soulwax</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.8461&amp;rws=%2Falt-punk%2Fpost-punk%2Fdance-rock%2Fartist-chart.rss</link>
<category>Alt Dance</category>
<pubDate>Sat, 6 Jun 2009 08:29:29 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1044&amp;rws=%2Falt-punk%2Fpost-punk%2Fdance-rock%2Fartist-chart.rss">Top Dance Rock Artists on Rhapsody Online</source>
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<description><![CDATA[Smart, techno-influenced rock with robotic rhythms and big guitars kicking the door down and opening things up for Beatles-heavy harmonies. An eclectic blend of grunge guitars and angular electronic fronted by a Trent Reznor-esque, sex-damaged, futuro-screamer. And it rocks.
- Mike McGuirk]]></description>
</item><item>
<title>Out Hud</title>
<link>http://mp3.rhapsody.com/goto?rcid=art.44097&amp;rws=%2Falt-punk%2Fpost-punk%2Fdance-rock%2Fartist-chart.rss</link>
<category>Punk-Funk</category>
<pubDate>Sat, 6 Jun 2009 08:29:34 -0700</pubDate>
<source url="http://mp3.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=1044&amp;rws=%2Falt-punk%2Fpost-punk%2Fdance-rock%2Fartist-chart.rss">Top Dance Rock Artists on Rhapsody Online</source>
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<description><![CDATA[Before forming Out Hud in 1996, Phyllis Forbes and Molly Schnick played together in Bay Area punk outfit the Tourettes while other bandmembers continue to play in electro-glitch funk band Chik, Chik, Chik. 2002's debut EP, <I>S.T.R.E.E.T. D.A.D.,</I> mixes cello with power tools, beats and zany song titles like "Dad, There's A Little Phrase Called Too Much Information." <I>Let Us Never Speak Of It Again</I> released in 2005, explores a warmer, poppier area pioneered by 1980s synth heroes, the Human League, and raises the bar with song titles like "Dear Mr. Bush, There Are! Over 100 Words For Sh*t, And Only One For Music, F*ck You, Out Hud." Never afraid to spend years polishing and tweaking in the mixing room, yet simultaneously famous for some spectacular live performances, Out Hud are an honest band continuing to make honest music.
- Neil West]]></description>
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