Rufige Kru Malice In Wonderland Rare Pokemon. Find malice in wonderland from a vast selection of Music. Get great deals on eBay! Listen free to Rufige Kru – Malice In Wonderland (Vanilla, Shutting You Down and more). 13 tracks (77:25). Discover more music, concerts, videos, and pictures with. Rufige Kru - Malice In Wonderland METH008CDD. View tracklist DOWNLOAD 13 tracks. Doc Scott / Rufige KruVIP Drumz / Ghosts Of My Life - 2017 Remaster.

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This service will deliver within 1-6 business days; Monday through Friday only. No UPS delivery is available on Saturday or Sunday. During their initial run from 1990-1998, Polvo crafted a sound so fantastically obstinate and so perfectly cockeyed that its DNA is essentially resistant to mediocrity or repetition. On Siberia, that sound feels more limber and more aerodynamic than ever. Its songs glide and bob like UFOs, both serene and unsettling. Some of that is owed to a looser approach. 'Preparing for In Prism, we labored over that material pretty intensively,' explains founding guitarist Ash Bowie.

'A lot of the songs on this album were not rehearsed much at all. I'd like to think this album has a few more adventurous moments.' One of those is the spiraling 'Blues Is Loss,' which moves from a dense knot of sound-an impossible tangle of Bowie's and Dave Brylawski's guitars, Steve Popson's chugging bass, and Brian Quast's tumbling percussion-to a conclusion that clangs and peals like church bells. There are the classic-sounding moments, too, like terrifically herky-jerk album opener 'Total Immersion,' which is grounded in surging bass and a pair of surgically focused guitar lines. An obvious point of comparison would be to Today's Active Lifestyles, released-perhaps not coincidentally-exactly 20 years ago.

Where that album thrived on a nervous, coiled energy, Siberia feels more surefooted, more poised and controlled. It's the work of a band that's been here before, but the experience has only made them more at ease. Siberia is a record that's humming with confidence, the sound of a band with nothing to prove, but proving it anyway. Embarking upon a sophomore effort can be a daunting task for any young upstart, and there's no denying Avi Buffalo's own bar was set quite high with 2010's celebrated eponymous debut.

Fear not, there's nothing in this tale about The Second Album-a.k.a. At Best Cuckold, due September 8th in Europe and September 9th in North America on Sub Pop-that even remotely resembles a slump; in fact, it would be entirely appropriate to say that this Long Beach, California, enterprise is getting better with age. Ah, yes, age-much was made of it when Avi Buffalo's first album hit, and for good reason: While their Millikan High School classmates were preoccupied with quaint and youthful pursuits, the musicians behind Avi Buffalo were busy making an off-kilter pop gem that eventually bowled over NME, The AV Club, Pitchfork, the BBC, and numerous other outlets on both sides of the Atlantic. The creation of At Best Cuckold turned out to be a three-year journey; a stretch of time that resembles its predecessor.

While transitioning from teenager to twentysomething and traversing the interpersonal wilds which accompany that age, Avi kept playing music, collaborated with and produced several friends (including Kevin Litrow's N.O.W. Project and Douglas James Sweeney's Arjuna Genome), and even started DJing. He also wrote new songs, and by the time 2013 rolled around, it was time to begin capturing his latest sparks-with that, the band headed into the studio on New Year's Day. At Best Cuckold was recorded at Tiny Telephone, the analog-friendly San Francisco studio run by John Vanderslice (whose Bowie tribute Avi contributed to), and engineered by Jay Pellicci (The Dodos, Deerhoof, Sleater-Kinney).

Avi then built on the 'clean and tight' recordings from Tiny Telephone with analog and digital overdubs, and completed the record with Nicolas Vernhes at Rare Book Room studio in Brooklyn. The result is a quirky yet comforting set of songs driven by refined pop songcraft and sneaky moments of grandeur that stick in the brain.

Classic-sounding melodies are delivered with a modern sensibility, creating an album that's equal parts timely and timeless. Well-placed piano, sax, clarinet, French horn, and cornet further enhance the proceedings with a glorious orch-pop sheen. At the ripe old age of 23, Avi Buffalo is ready to take on the world (again), armed with all of the experience he's compiled over the past few years. And he's made sure the second time around will be just as memorable as the first. Engine-revving dose of filthy, leather-clad blues. NME A shit-kicking garage greaser with badass hooks.

SPIN Stripped- down garage rock with crunching guitars and kiss-off cockiness. GQ This is desert-burned blues rock boosted by punk, soul and hip-hop - ROLLING STONE On his 2011 debut Will The Guns Come Out, Hanni El Khatib tried something he'd never tried before-making a bedroom-style recording of his then stripped-to-the-skeleton guitar-and-drums rock 'n' roll mostly for the sheer joy of making it. For his ferocious 2013 follow-up Head In The Dirt, he tried something new again, showing up at producer Dan Auerbach's analog-dreamland Nashville studio with nothing but the clothes on his back and an open mind. But after Head In The Dirt's release and almost a year of relentless touring, Hanni knew he needed to go past 'unpredictable' all the way to 'unprecedented.' He needed isolation, time and the chance to experiment. So after 30 days locked in hand-picked L.A.

Studio The Lair, the result is the album Moonlight-the rarest and most welcome kind of album, made at that perfect point in life where confidence, experience, and technique unite to help an artist do anything they want. That's why it starts with a song that sounds like a Mobb Deep beat under a Suicide-style synth drone and ends with an ESG-meets-LCD Soundsystem gone italo-disco song about life and death. That's why it collides crushing crate-digger drumbeats that'd be right at home on a Can LP or an Eddie Bo 45 with bleeding distorto guitar, bent and broken barroom piano and hallucinatory analog flourishes. (In fact, some smart producer is going to sample the drums from this album and complete the circle of life.) And that's also why Moonlight feels like the album he's always wanted to make: 'What would it sound like if RZA got in the studio with Iggy Pop and Tom Waits?' 'I don't know! That was my approach on everything.'

It's a personal album in the most primal sense, put together in any way that worked. Iggy Pop and David Bowie did this kind of thing on The Idiot, the Wu-Tang Clan did it on 36 Chambers and the Clash did it three times over on Sandinista. And now it's Hanni's turn, across 11 new lightning-struck songs, each written and recorded in its own flash of inspiration. It sounds like an album made by an endless list of collaborators, but really Moonlight was more like the first do-it-almost-all-yourself music Hanni ever made, except after six years recording and touring, he'd learned to do so much more.

Includes A CD Copy Of The Album After releasing the Venus & Mars 10 earlier this year, Jett Rebel stirred up the music scene in The Netherlands by playing numerous gigs on festivals like Lowlands and Pinkpop, and receiving several national awards for his musical artistry. It is safe to say, 23 year old Jelte Tuinstra is simply bound for stardom. Debuting with 14 psychedelic, pure Pop songs, his first full-length album is called Hits For Kids. As Jett himself explains, Hits For Kids implies that it's something you don't expect. It fits the theme of the record; nothing is what it seems. Tuinstra himself calls Hits For Kids songs for free spirits.

Songs for people that want and dare to be themselves. Jett (or Jelte) really tells a linear story with Hits For Kids. The 14 songs are interweaved into one listening experience, telling the story of his coming-of-age since the first moment of his breakthrough last year. Everything on the album has been written, composed and played by himself: drums, bass, guitar, vocals, organ, accordion, synth, percussion, even flute & sax. Hits For Kids was mixed in London by Tony Platt, known for mixing Bob Marley, AC/DC and Foreigner. The album is mastered by Ray Staff, who also mastered Led Zeppelin, David Bowie, The Clash and Muse.

This vinyl edition of Hits For Kids includes a CD copy of the album! Pressed On Red Vinyl Limited Edition of 500 Copies Printed Dust Sleeve & Vinyl-Only Bonus Track At first glance, 'Option Paralysis' seems like a highly inappropriate title to describe the constantly evolving output of THE DILLINGER ESCAPE PLAN. But once you're faced with the cumulative power and vision of guitarist Ben Weinman, vocalist Greg Puciato, bassist Liam Wilson, guitarist Jeff Tuttle and new drummer Billy Rymer, you'll wonder-right after you pick yourself up off the floor-why more bands don't achieve similar force-of-nature status. 'The title 'Option Paralysis' represents being in a situation where you have so many choices you can't decide, and end up being frozen,' says founding member Weinman about the mindset permeating the band's fourth full-length album. 'Back in the early days when I started to discover music, go to shows and find out about new bands, there were 'filters' from various circumstances - geography, economic status, etc - which deeply affected how a band sounded and what they stood for. Now, everyone is going through the same filter-namely computers and the internet-and everyone has the same circumstances: Everybody's seeing the same thing for the first time at the very same time, simultaneously all over the world. That very system is negatively affecting art and has created a situation where everything is influencing itself and art is not based on struggle, personal scarcity or unique and personal inspiration.

This cultural revolutions is a big part of what determines our mission. We're not listening to any of the bands around us for some kind of input as to what we should sound like. At this point, we're using our own accomplishments as a measurement of what we need to do next.' From their early days in the late-'90s as short-haired Rutgers, New Jersey, college students delivering hyper-complex thrash to audiences of boorish long-haired surly metalheads, to performing with NINE INCH NAILS on the pioneering electronic band's farewell shows, the DILLINGER ESCAPE PLAN have merely one prerogative: to go forward in ALL directions simultaneously. Their groundbreaking 1999 debut full-length, 'Calculating Infinity', is inarguably the essential technical-metal talisman for the 21st century, melding hardcore's blinding rage with a musical vision that made most progressive-rock bands sound positively lazy by comparison. 'Irony Is A Dead Scene', the band's 2002 collaboration with Mike Patton, maintained their patented extremity while exploring electronic textures. The 2004 follow-up, 'Miss Machine', (the first record to showcase frontman, Puciato) was a distillation of the band's work thus far, while including jaw-dropping flirtations with mainstream metal ('Unretrofied') that further enforced DILLINGER's desire-and ability-to take their music wherever the hell they wanted.

2007's 'Ire Works' had the band finding inspiration from underground glitch and breakcore electronica, as well as indigenous music genres, in a world seemingly overrun with metalcore bores and screamo trend-hoppers. THE DILLINGER ESCAPE PLAN's unerring sweat equity has consistently found resonance with listeners on both sides of the stages the band trod upon. 'Option Paralysis' marks the beginning of another trajectory in the DEP mythology. After aligning themselves with the renowned Relapse label for most of their career, the band entered into a deal with the French label SEASON OF MIST to put out 'Option Paralysis', tagging their new PARTY SMASHER INC label. 'We signed a pretty traditional record deal with them for one record,' explains Weinman. 'What's exciting is that Michael Berberian, SOM label founder is a really big music fan and has a great understanding of how we operate.

He was totally aware of the possibilities and limitations of working with a band like us-he's not expecting pop hits-and he's been extremely enthusiastic to dive right in and make it work for everyone.' Produced by Steve Evetts, Dillinger's new music is positively abundant with possibilities. Drummer Billy Rymer, whom Weinman describes as 'young and hungry,' now occupies the engine room that powers the band.

Frontman, Puciato has always had a knack with a bellow that could make reciting a grocery list seem like an exhortation to open the mouth of Hell. But feeling some of the lyrics on 'Option Paralysis', you can't positively determine if the singer is handing down indictments ('Farewell, Mona Lisa') or feeling emotionally wounded. 'This record is concept driven but there is still a very emotional and personal aspect to his lyrics,' says Weinman soberly. 'He's going through transitional stages in his life right now.' Nothing so eloquently supports that statement than the six and-a-half-minute 'Widower', where the band are joined by veteran David Bowie keyboardist Mike Garson for an aural excursion that incorporates piano-trio jazz, tender balladry and anthemic power. While there's no shortage of DEP plasma-balls on 'Option Paralysis' ('Room Full Of Eyes', 'Good Neighbor'), the band keep things fresh with the math-rock/free-jazz convergence of 'I Wouldn't If You Didn't,' the electro-tweaked 'Chinese Whispers' and the closing 'Parasitic Twins'.

The latter track sports lead vocals courtesy of guitarist Tuttle, as well as Beach Boys-styled harmonies and a major-key Weinman solo that's more Clapton (ca. Derek And The Dominos) than calculus crush. Clearly, this is not your older brother's DILLINGER ESCAPE PLAN. 'We're just trying to make music we can be stimulated by,' says Weinman about the assorted directions and sonic vistas on 'Option Paralysis'.

'We consider ourselves songwriters, which is kind of odd when you consider the kind of band most would consider us.' As passionate about their craft as ever, DEP are looking to ramp up things even more in 2010, with a planet-beating touring campaign that includes basement shows, a stint on the main stage at this summer's Vans Warped Tour, a performance at the legendary Cochella festival, and various points in between. But after 12 years of deliberately challenging themselves, as well as the preconceived notions of critics and the strict genre-specific zealots of the world's underground music scenes, the big question remains: What is the mission of the DILLINGER ESCAPE PLAN? It's a question Weinman addresses with equal parts melancholy, unwavering determination and humor. 'I've been trying for a while to have someone explain that to me,' he says, laughing. 'Seriously, 'Option Paralysis' represents why we're here and why we're still making music. We started at a time when there wasn't all this access to the larger world.

Our only goal was to make a small dent in the scene that we were in. The fact we've made it this far and that we're still relevant is really special to me.

I feel that it is extremely important for bands like us to continue to represent the ethic and attitude that was present during a time that doesn't exist anymore.' 'That,' he says, pausing to smile. 'And I have to pay my mortgage somehow '. 'My last record was very inward-looking,' says Ani DiFranco. 'I was pregnant and then raising a screaming infant.

But now that kid is about to turn four, so I got out of the weeds of personal space and started looking outward again, being more engaged, more big 'P' Political. As an artist, I like to be out in the world, and what initially compelled me was to try to push society to a better place. So when I'm not in heartbreak or motherhood mode, that's where you'll naturally find me.' With her twentieth studio album, Binary, the iconic singer/songwriter/activist/poet/DIY trendsetter returns to territory that brought her to the world's attention more than twenty-five years ago. One of the first artists to create her own label in 1990, she has been recognized among the feminist pantheon for her entrepreneurship, social activism, and outspoken political lyrics. At a time of global chaos and confusion, DiFranco is kicking ass and taking names, with a set of songs offering a wide range of perspective and musical scope. She describes a moment during the writing of 'Play God,' an unblinking pro-choice battle cry, as a particular breakthrough.

(A live version of the song was included in the anti-Trump '30 Days, 30 Songs' campaign alongside tracks from Death Cab for Cutie, Aimee Mann, Franz Ferdinand, and more.) 'When I wrote the line 'You don't get to play god, man/I do,' I paused and thought, 'Can I say that?,' ' she says. 'It's not the first time I've thought that, but it's been a while. And in that moment, I thought, 'I'm back, mothafuckas!' ' 'When you make a record about family and relationships, people assume you're mommy now and you've lost your edge, and it's going to be all buttercups from here on.

So that line had the feeling of 'Take that! My kid is sleeping right now and I want to talk about some shit!' On Binary, DiFranco tackles the challenge and necessity of teaching non-violence with 'Pacifist's Lament' and the need for empathy in 'Terrifying Sight.'

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Remarkably, though, these songs-recorded, in her usual fashion, in a couple of short full-sprint sessions spread across several years-were all written prior to the 2016 elections and attendant political turmoil. 'I'm not surprised,' says DiFranco. 'Over twenty-five years, I've found that my songwriting is often full of premonition. It shows me, in a deep and spooky way, how we know things on levels below consciousness.

I write songs and then they happen, and later I realize what they're about. I'm just happy to have some good tools in my toolbox to address what's happening now-the feminist diatribes are turned up nice and high on this record!' She notes that Binary's title track is key to her intention on this project. 'I always title a record from the song that seems to be at its core,' she says. 'An underlying theme in the songs, and in the feminism I want to engage society with, is the idea that autonomy is a fallacy-nothing exists except in relationship to something else. We are, in some senses individuals with individual liberties and unique powers, but that's only a surface story.'

Though this concept is closely tied up in our present-day obsession with technology ('Sitting alone at home, staring at a screen, you can't really know anything, because knowing is engaging,' she says), DiFranco also reveals a growing connection to nature and the physical world. 'Every year on Goddess' Green Earth, I understand my relationship to it more,' she says.

'My early songs were all human drama. I don't think I noticed the bigger picture at all-I was transfixed by power dynamics between people. Now I see that it's largely the providence of women to really embody nature, so I do think I'm getting back to basics, and it's a shift for me.' The backbone of Binary's sound is DiFranco's long-time rhythm section of bassist Todd Sickafoose and drummer Terence Higgins, but on much of the album, the trio is augmented with some all-star guests.

'I knew I wanted to involve some of my brilliant friends this time out,' she says. 'We made some calls and got a party going.

That was the idea, to reach out and have some other spirits enter.' Virtuoso violinist Jenny Scheinman and keyboard wizard Ivan Neville both join in for more than half of the record; 'they are so captivating and they elevate my shit whenever they come near it,' says DiFranco.

Other contributors include the legendary Maceo Parker, Bon Iver's Justin Vernon, and Gail Ann Dorsey, longtime bassist for David Bowie. New Orleans resident DiFranco takes special pride in the Crescent City funk spearheaded by natives Higgins and Neville on a number of the tunes. 'Their souls are of this place,' she says. 'The feel they bring is something they got in utero.' For the better part of 2016, DiFranco beat the drum for voter turnout on her 'Vote Dammit!' Tour, focusing on registering and inspiring people to vote.

In the days following the election, fans turned to her for guidance with renewed earnestness, anxious to hear music and wisdom from the longtime activist. Ani encouraged fans to take political action and did the same herself, participating in the Women's March on Washington and performing at the official Women's March after party benefitting Planned Parenthood with The National and Sleater-Kinney. Binary, of course, is being released into a world in which music distribution and consumption have transformed rapidly and dramatically. For DiFranco, a true pioneer in the music industry with her Righteous Babe label, it's a time to reconsider the possibilities and ambitions of her business. 'While I was precedent-setting at one time with Righteous Babe and my indie crusade, I feel like, in the time it took me to nurse another baby into being, I've fallen behind,' she says.

'synopsis' may belong to another edition of this title. Mechanics of materials pdf download. Condition: New. Book Description Pearson Education (US), United States, 1998. Language: English.

'The universe and technology have continued to evolve, and the idea of harnessing technology and crowd-sourcing everything-money, knowledge, revolution-is a very powerful concept that I'm ready to get more involved with. Righteous Babe is starting to grow now into something that will hopefully become avant-garde once again- more of a collective, more dynamic.'

'I'm trying to figure it out daily,' says Ani DiFranco. 'Just like always.' Collects Together For The First Time The Definitive Collection Of Bowie's Music From 1964 To 2014 NOTHING HAS CHANGED released by Columbia Records/Legacy Recordings collects together for the first time the definitive collection of Bowie's music from 1964 to 2014. Fifty years on from his first recordings, David Bowie continues to be at the vanguard of contemporary culture as a musician, artist, icon and a nonpareil to generations of writers, artists and fashionistas. He remains to be a unique presence in contemporary culture. NOTHING HAS CHANGED (named after a lyric from the 'Heathen' album opener 'Sunday') compiles tracks from every period of Bowie's career from his earliest incarnations with 'Liza Jane' and 'Can't Help Thinking About Me' right up to James Murphy's 'Hello Steve Reich Mix' of 'Love Is Lost' from last year.

The album features Bowie's first new music since he stunned the world with the critically lauded 'THE NEXT DAY'. The new single 'SUE (or IN A SEASON OF CRIME)' was especially recorded for NOTHING HAS CHANGED with long time collaborator Tony Visconti. Alongside the brand new track NOTHING HAS CHANGED features the previously unreleased 'Let Me Sleep Beside You' from the 'TOY' sessions, the download only 'Your Turn To Drive' making its debut on CD and the stunning 2001 re-recording of the 1971 outtake 'Shadow Man'.

Let's Dance (single version) 2. Ashes To Ashes (single version) 3. 'Heroes' (single version) 4. Life On Mars? Space Oddity 7. Starman (original single mix) 8. Ziggy Stardust 9.

The Jean Genie (original single mix) 10. Rebel Rebel LP 2 1. Golden Years (single version) 2. Sound And Vision 4. Under Pressure (Queen & David Bowie) 5. Sue (or In A Season Of Crime) 6. Hallo Spaceboy (Pet Shop Boys remix) - with The Pet Shop Boys 7.

China Girl (single version) 8. Modern Love (single version) 9. Absolute Beginners (single version) 10. Where Are We Now?

Goldie returns as Rufige Kru & produces a album with a nice sense of shelf life to it. This is an excellent album and sounds like late 90's drum & bass. Overall the album has got a dark sound to it with nice industrial basslines & breaks. The title track for me is one of the best of 2007 with epic & uplifting soundscapes, a half tempo break & a sensational drop halfway into the tune. This is a must have if you like Metalheadz or drum & bass where a bit of thought has gone into the production as a whole.