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<title>Top No Wave Artists on Rhapsody Online</title><link>http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=313&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss</link><description>Top No Wave Artists on Rhapsody Online</description><category>No Wave</category><language>en</language><ttl>720</ttl><pubDate>Wed, 6 Jan 2010 08:08:31 -0800</pubDate><image>
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<title>Top No Wave Artists on Rhapsody Online</title>
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<title>Sonic Youth</title>
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<category>Noise Rock</category>
<pubDate>Sun, 3 Jan 2010 09:48:52 -0800</pubDate>
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<description><![CDATA[The most exciting band of the 1980s, period. Sonic Youth had no equivalent then, and they still don't -- no one on the underground can rival them for daring, brilliance and range. Their willingness to experiment and evolve brought them perilously near the mainstream in the early '90s, but recent efforts have once again delivered them into the covetous arms of art-rock's intelligentsia. Starting off on the heels of New York's no wave movement, Sonic Youth's pre-SST material marked a period of maturation defined by self-conscious DIY amateurism and the complete demolition of rock guitar convention. The approach broke ground, but kept a pretty low ceiling on what the band could achieve. The arrival of <I>EVOL</I> in 1986 signaled the end of Sonic Youth's anarchic primitivism and the dawning of their golden age. They were gradually transforming bouts of alternate tuning overkill into tightly crafted song. <I>Daydream Nation</I> (1988) remains their pinnacle achievement, a thematically coherent pastiche of Gen-X cynicism, sonic tube disasters and surreal guitar passages that chime like harps in a hailstorm. The work of Sonic Youth is all the more remarkable for being almost entirely self-produced and truly collaborative in origin. Thurston Moore, Kim Gordon and Lee Ranaldo all lend a hand in writing and singing, which sometimes produces the jarring effect of listening to three different bands on the same album.
- Chad Driscoll]]></description>
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<title>The Residents</title>
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<category>Experimental</category>
<pubDate>Fri, 25 Dec 2009 11:17:44 -0800</pubDate>
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<description><![CDATA[Upon a first listening, most people will respond to The Residents the way they would to smelling salts. Their songs can be as opaque, esoteric, and bizarre as Rosicrucianism, but perhaps the most puzzling aspect of the band is their Mafia-like code of silence about their identities. These living ciphers have remained among rock's avant-garde by branching into music videos (they were among the first to make them), movie scores, CD-ROMs, and even comic books. Concept albums and cover songs predominate the band's musical output, including a 1977 send-up of "Satisfaction" which remains the band's most recognizable song. Three decades after it began, the aggressively experimental output of these multimedia pioneers shows no sign of letting up. From behind their trademark eyeball masks, the white suit and top hat bedizened Residents continue to be the wittiest, most subversive concept artists in rock.
- Chad Driscoll]]></description>
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<title>The Lounge Lizards</title>
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<category>Avant Garde Jazz</category>
<pubDate>Sun, 27 Sep 2009 09:56:09 -0700</pubDate>
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<title>Glenn Branca</title>
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<category>No Wave</category>
<pubDate>Thu, 31 Dec 2009 11:24:10 -0800</pubDate>
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<rhap:artist xmlns:rhap="rhap">Glenn Branca</rhap:artist>
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<description><![CDATA[Though not featured on the Eno-produced <I>No New York</I> compilation, the Branca-fronted Theoretical Girls and The Static were an integral part of No Wave. Perhaps because of his association with rock music, Branca went on to become one of the most grossly underrated American composers of our time. Most famous for his deafening compositions for multiple electric guitars, Branca released his first attempt at the form, <I>Lesson No. 1</I>, in 1980. Though classic, it was a mere hint of what he'd soon accomplish: <I>Symphony No. 5</I> is nothing short of a masterpiece of sweeping textures and dramatic power. The piece is performed on "mallet guitars," homemade instruments with strings designed to be struck with short sticks, resulting in a bell-like chime rich with overtones. Driven by an almost ever-present drumbeat, the music swells with massive, overwhelming waves of sound, full of frightening intensity as well as shimmering beauty. In addition to other, smaller works, Branca has completed ten symphonies, the ninth of which was composed for symphony orchestra. After witnessing a performance of his sixth symphony, John Cage reportedly described Branca's work as "the devil's music."
- Doug Russell]]></description>
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<title>Rhys Chatham</title>
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<category>No Wave</category>
<pubDate>Thu, 22 Oct 2009 13:23:52 -0700</pubDate>
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<description><![CDATA[A key figure in the New York avant-garde scene of the 1970s and '80s, Rhys Chatham is best known for incorporating popular musical styles into his compositions. He began his association with the new music scene as a student of LaMonte Young and a singer in Young's Theatre of Eternal Music. Chatham began exploring alternate tuning schemes, a strategy plays a large role in his later compositions. Intrigued by the burgeoning rock scene, Chatham also explored the sonic potential of the electric guitar, an affair that would last into the late '80s. <I>Guitar Trio</I> (1977) is a classic of electric guitar experimentalism, and would forever inspire comparisons to Glenn Branca. Combining the driving rhythms and sonic bombast of rock 'n' roll with a post-minimalist fixation on overtones and generative development, the piece earned Chatham admiration from both the rock and avant-garde worlds. The 1990s found Chatham (now living in France) shifting his musical attention towards Europe's hot Techstep and Drum 'n' Bass scenes. As he did with rock ten years earlier, he dove head into the new genre, forging new musical relationships that would last through the decade.
- Doug Russell]]></description>
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<title>D.A.F.</title>
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<category>Industrial Dance</category>
<pubDate>Fri, 10 Apr 2009 16:03:31 -0700</pubDate>
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<description><![CDATA[They invented EBM (Electronic Body Music), and then, bored by their invention, left it behind to produce embarrassingly vapid Disco. Their early albums revolutionized the sound of dance music by introducing authoritarian vocals that spit out every line like a direct order amidst a crossfire of explosive beats and flying shards of Industrial noise. Upon reemerging in the late '80s, D.A.F.'s martinet demeanor had given way to an effeminate prissiness. By that time, however, they had already assumed a central place in the history of dance music as the primary inspiration for Nitzer Ebb, Front 242 and Front Line Assembly.
- Chad Driscoll]]></description>
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<title>Erase Errata</title>
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<category>No Wave</category>
<pubDate>Tue, 17 Mar 2009 20:33:51 -0700</pubDate>
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<description><![CDATA[In a town where music seems to be dying a slow, unwilling death, San Francisco's Erase Errata manage almost single-handedly to halt the process. Drawing heavily from the minimal clatter of the Fall, Erase Errata songs revolve around spare structures, complex rhythms and abstract melodies. The vocalist's dry, exclamatory style is captivating -- think of a female Mark E. Smith in aviator sunglasses. Meanwhile, nervous, blinky-eyed guitar riffs join candid, inquisitive basslines like a chain link fence that's kept taut and alert by solid, unwavering drums. This is music that not only inspires the listener's attention but viscerally demands action, both personal and political.
- Mike McGuirk]]></description>
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<title>Celebration</title>
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<category>Post-Punk</category>
<pubDate>Tue, 17 Mar 2009 20:36:24 -0700</pubDate>
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<title>Arto Lindsay</title>
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<category>Experimental</category>
<pubDate>Sun, 20 Dec 2009 09:42:36 -0800</pubDate>
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<description><![CDATA[A Svengali of the East Village, guitarist Arto Lindsay's diverse, whimsical, and often challenging repertoire spans the breadth of New York downtown music -- from Tropicalia to Punk, electronica to Avant Garde Jazz. His musical career began as part of noise-punk outfit DNA, a mainstay of the late-'70s Post-Punk "No Wave" scene. After the group disbanded in 1982, he formed the Ambitious Lovers, a Brazilian Pop-influenced band with a Post-Punk edge. By the early '90s, he'd embarked on a solo career, delving deep into a different genre on every album. Finally, he branched out into electronic composition, recording an album that fused Brazilian jazz and pop styles into the rhythmic framework of Techno and Drum 'n' Bass.
- Noah Enelow]]></description>
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<title>Teenage Jesus And The Jerks</title>
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<category>No Wave</category>
<pubDate>Thu, 31 Dec 2009 11:24:10 -0800</pubDate>
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<title>The Prids</title>
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<category>No Wave</category>
<pubDate>Thu, 8 Oct 2009 11:44:33 -0700</pubDate>
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<description><![CDATA[Guitarist and singer David Frederickson started the Prids with bassist and singer Mistina Keith in the late '90s. The couple spent their early existence bouncing between locales across the Midwest -- Lincoln and Omaha, Nebraska, and Saint Joseph, Missouri -- but their brand of dark, DIY no-wave and strict vegan lifestyle was not long for the Show Me State, and they eventually found more hospitable digs in Portland, Oregon. They self-released three records, <i>Duracraft</i> (2000), <i>Glide Screamer</i> (2002) and <i>Love Zero</i> (2003) before the Five03 label issued 2006's <i>â¦Until the World Is Beautiful</i>. Among their numerous U.S. tours they've have supported the Faint, the Rapture, TV on the Radio and Built to Spill.
- Nate Cavalieri]]></description>
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<title>James Chance and The Contortions</title>
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<category>No Wave</category>
<pubDate>Thu, 31 Dec 2009 11:24:12 -0800</pubDate>
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<description><![CDATA[Though the sax-driven songs have roots in blues, Funk and jazz, they bow down before the God of noise. Their primary intention is to confront, irritate and annoy. They succeed.
- Tim Quirk]]></description>
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<title>DNA</title>
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<category>No Wave</category>
<pubDate>Sat, 11 Apr 2009 14:13:49 -0700</pubDate>
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<rhap:artist xmlns:rhap="rhap">DNA</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.3906&amp;variant=data&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss</rhap:data-href>
<description />
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<title>Bush Tetras</title>
<link>http://www.rhapsody.com/goto?rcid=art.10575&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss</link>
<category>No Wave</category>
<pubDate>Tue, 17 Mar 2009 20:33:06 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=313&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss">Top No Wave Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Bush Tetras</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.10575&amp;variant=data&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Emerging from New York's No Wave scene in the early 1980s, the Bush Tetras were a mostly female ensemble rendering urban primitive Funk in the same vein as James Chance and the Contortions. Crude musicianship and repetitious vocals gave them little promise of commercial success, but they possessed a large enough underground following to reunite and record an LP (their first) in the '90s.
- Chad Driscoll]]></description>
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<title>Fly Ashtray</title>
<link>http://www.rhapsody.com/goto?rcid=art.22675&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss</link>
<category>Experimental</category>
<pubDate>Sat, 11 Jul 2009 12:21:15 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=313&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss">Top No Wave Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Fly Ashtray</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.22675&amp;variant=data&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[This Dada-istic assemblage of music works loosely as cohesive songs. Fly Ashtray let each of the instruments bend and twist, layering them with droning vocals that might cause you to have flashbacks of when you used to listen to Dinosaur Jr with your mind blown out on acid.
- Mark Murrmann]]></description>
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<title>Bill Graham</title>
<link>http://www.rhapsody.com/goto?rcid=art.6483&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss</link>
<category>No Wave</category>
<pubDate>Mon, 9 Nov 2009 11:46:45 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=313&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss">Top No Wave Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Bill Graham</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.6483&amp;variant=data&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[These gritty, raunchy styles could only have been formed from years pounding away in dank warehouses with leaky pipes and cramped studios with no ventilation. Bill Graham's off-kilter, down-tempo grooves alternately evoke Herbie Hancock's Headhunters on Novocaine and messy early '80s art school punks with a Meters obsession. The occasional use of keyboard sounds from the '70s gives the music a Lo-Fi edge. In some pieces, Graham manipulates nervous, angry vocal samples over boiling funky Post-Punk grooves. His bass playing is rough, fierce, and splendidly twisted; the strings pop just a little too much for comfort, giving out angry plucking sounds, and keep the groove furiously moving forward. His use of harmonics is unique among bassists, recalling the abstract, atonal meanderings of guitarist Derek Bailey. And his silken duets with fellow bassist Eliot Wadopian recall the solo bass explorations of Jaco Pastorius. Overall, Graham's music is the perfect soundtrack to a hangover in a squat house with the roaches invading your mattress.
- Noah Enelow]]></description>
</item><item>
<title>Quixotic</title>
<link>http://www.rhapsody.com/goto?rcid=art.6988&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss</link>
<category>No Wave</category>
<pubDate>Sun, 8 Feb 2009 09:56:39 -0800</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=313&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss">Top No Wave Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Quixotic</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.6988&amp;variant=data&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Is this a 33 1/3 r.p.m. recording of the theme to <i>Halloween</i> or some other horror flick filtered through a cheap synthesizer, looped and played at 78 r.p.m.s? Check your record player to make sure you've got it on the right speed.
- Michael Ansaldo]]></description>
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<title>The Dont's</title>
<link>http://www.rhapsody.com/goto?rcid=art.9850614&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss</link>
<category>Post-Punk</category>
<pubDate>Tue, 17 Mar 2009 20:29:49 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=313&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss">Top No Wave Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">The Dont's</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.9850614&amp;variant=data&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[In 2002, guitarist Joe Hayes moved to the Bay Area from Brooklyn and began collaborating with singer and then-drummer John Lucas in San Rafael,
Cali. on a number of lo-fi recordings which featured Lucas on vocals and drums.
In the ensuing year, they released an EP, <i>Model</i>, before
solidifying the currentt rhythm section members, bassist JJ Caguin and drummer Ken Shelf. Their first full length, 2005's Misc Radio Leakage, was binaually
recorded and largely comprised of improvisational performance mixed and produced by the band. The follow-up sophomore release, <i>Inner El Camino</i>, was recorded at John Vanderslice's Tiny Telephone and SF Soundworks in San Francisco for release in early 2007. The record included rich instrumentation and a guest appearance on a variety of horns by former Tom Waits' and B-52s saxophonist Ralph Carney. The Dont's spend an inordinate amount of a time improvising in their San Francisco studio, retaining hundreds of hours of experimental recordings since forming in 2002.
- Nate Cavalieri]]></description>
</item><item>
<title>Mecca Normal</title>
<link>http://www.rhapsody.com/goto?rcid=art.10211&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss</link>
<category>Lo-Fi</category>
<pubDate>Tue, 17 Mar 2009 20:32:30 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=313&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss">Top No Wave Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Mecca Normal</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.10211&amp;variant=data&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Bare-bones duo consisting of a female vocalist and a bass player sometimes accompanied by percussion. First generation residents on the roster of Lo-Fi pioneers K Records, Mecca Normal's challenging recordings push the limits of human tolerance. Dissonant, amelodic, racked by jarring time changes and grating vocals -- their music is alienating and high-minded enough to command the term "Art."
- Chad Driscoll]]></description>
</item><item>
<title>Lydia Lunch</title>
<link>http://www.rhapsody.com/goto?rcid=art.2354&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss</link>
<category>Experimental</category>
<pubDate>Sat, 15 Aug 2009 11:04:56 -0700</pubDate>
<source url="http://www.rhapsody.com/charts?cat=artist&amp;category=genre&amp;genreId=313&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss">Top No Wave Artists on Rhapsody Online</source>
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<rhap:artist xmlns:rhap="rhap">Lydia Lunch</rhap:artist>
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<rhap:data-href xmlns:rhap="rhap">http://www.rhapsody.com/goto?rcid=art.2354&amp;variant=data&amp;rws=%2Falt-punk%2Fpost-punk%2Fno-wave%2Fartist-chart.rss</rhap:data-href>
<description><![CDATA[Multimedia artist Lydia Lunch got her start in the No Wave scene of the late 1970s with Teenage Jesus & the Jerks, a stripped-down, spasmodically brutal outfit that -- along with DNA and James White & the Blacks -- was part of a little-heard but influential scene that impacted the rise of bands Sonic Youth, Live Skull and the Swans. Lunch has since gone on to become an instrumental figure in underground film, Spoken Word, and poetry circles. She's been a prolific collaborator throughout her long career, making records with everyone from Rowland S. Howard of the Birthday Party to esteemed southern novelist Hubert Selby, Jr. She remains active, recording and touring, most notably on the Spoken Word circuit.
- Tom Heyman]]></description>
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