Jake and the Slut began in the spring of 2010 in the city of Busan, starting modestly but growing to combine musicians from four different countries, winning band competitions and filling smoky pubs across the city.

The band is made up of lead guitarist Michael Park (Ireland), bassist/vocalist Neal Hamm (USA), drummer Duncan Morris (England), and lead vocalist/guitarist/name-sake Jake MacDonald (Canada). Their mission: to rock their audiences into a sweaty frenzy. Exactly how they achieve their mission, however, depends on the night.

On some evenings, the catalyst to madness is a heavy Black Sabbath cover. Other times, it’s a foot-stomping traditional Celtic sing-along, rocked up with a modern edge while maintaining a heart-warming deedle-dee. Or maybe even a bass-heavy dance song, fuelled by some funky groove from the far reaches of Motown.

But the glue that holds every set list together is Jake and the Slut’s original material, with influences as diverse as the band members themselves. Some originals, such as Shower of Bastards, are born from the smoothly distorted guitar of Michael Park, who enjoyed success in Ireland with his hard-rock band “Beard Seeking Missile”. Softer sing-alongs like Nova Scotia and Barman reflect Jake MacDonald’s folk roots, while Tell Me (I Don’t Know) is a solid example of Neal Hamm’s classic rock influences. All of these songs are held together by the controlled fury of Duncan Morris’s drumming, honed during his days with the popular English punk group “Rydell”. Realizing they owe their coming-together to happenstance in the Republic of Korea, they pay tribute to their adopted homeland with songs like 괜찮아요 (It’s OK) and 아가씨 (Look At Me Agashi).

Both Korean and foreign audiences are guaranteed of two things: the opportunity to enjoy the work of musicians dedicated to their craft; and the assurance that Jake and the Slut will achieve their mission – you will find yourself in a sweaty frenzy.

So, next time you see them advertised, check out the Slut, grab a beer, and enjoy the ride.

British male voice over. (deep, authoritative, mature and upbeat)

Experience of radio in both voluntary and commercial sector. 

Love single malt whisky. I am Ade!! Hear me roar....and cough!!

With the release of the Little Planes EP, Parks Landing brings an alternative edge to indie pop rock. Lush with littered guitar hooks, addicting vocal melody, and a dream-like feel, the record boasts that of 90’s pop anthems. Though the songs are diverse from one another, there is a glue that holds it all together much like a concept album. Most importantly, the EP never loses sight of the emotional platform great songs are built from.


The first single, “Voices In My Head”, is a fresh, upbeat, fun indie-pop track that seems to build and breathe as it plays on. Complete with massive dance choruses and mellow breakdowns, the song holds its groove and intensity throughout.

“Everyone has that inner monologue in their mind, narrating their day, but sometimes you just wish it would stop," lead singer Niki DiCarlo explained of the single. "The main theme is going through a breakup, but more specifically, it's about preparing to forget someone. It's difficult to get to the point of wanting to get over someone, but once you do, the healing happens quickly.”

Although the single speaks volumes for the EP, to get a real understanding of where Parks Landing is coming from, it should be heard in its entirety.

“Our sound has evolved immensely," said the band of its writing process. "Writing personal songs means going through this emotional audit, of sorts. It might not be the most pleasant experience to hold a mirror up to yourself in that songwriting process, but the end result is worth it.”

After getting fired from a marketing firm, guitarist Dan Ciarrocchi realized how much he missed making music. Home on a random weekday, he sent Niki, a friend but someone he knew he wanted to work with, a text asking to discuss making music with her. She responded with “uhh…who is this”. Somehow, the two later got together and began writing what would later become the Little Planes EP. The rest is history.

Little Planes is now available for streaming and download on most major digital outlets, and the band is already booking upcoming gigs in support of the release.

To hear and learn more of Parks Landing and Little Planes, please visit:

https://parkslanding.bandcamp.com/

https://twitter.com/parkslanding

www.cdbaby.com/Artist/ParksLanding

http://sf.thedelimagazine.com/category/bands/parks-landing

Elektrodrei's involvement with music goes a long way back, even way before all of our devices and digital media turned music into the streaming-driven, fast market that it is the music industry today. In spite of the changing times, Elektrodrei still set out to remain faithful to their unique sound and to their approach to production. The sound has always been personal and strikingly articulate, refusing to stand by trends and stick to what's popular, but working hard to create an engaging, direct and powerful mix where heavy bass, sparse grooves and deep textures interact beautifully, leaving room for seamless melodies to glue it all together. 

There's a somewhat dark and haunting quality to Elektrodrei's music and their tracks remain catchy and relatable, while retaining an edge of subtle sophistication that adds life and depth to their music.

To this day Elektrodrei released more than 300 tracks on many different labels. These can be found on compilations together with other productions from artists like Sven Vaeth, Antony Rother, Oliver Huntemann, DJ Hell, Boys Noize, Gregor Tresher, Johannes Heil, Luetzenkirchen, Tube & Berger, John Acquaviva, Thomas Schumacher, Pig & Dan, Super Flu, Oliver Moldan and many more. 

Their music is played and supported by DJs like Laurent Garnier, Luciano, Richie Hawtin, Stephan Bodzin, Luca Dobbie, Markus Kavka, Patrick Lindsey or DJ Dub.

We have  a Team of people over 6 years of Experience in Kitchens/ Wardrobe/Furniture/Interiors/wooden flooring work behind Woodmark interiors to give You the Best Solutions in Modular Kitchens & Wardrobes. We are Professionals in-Modular Kitchen Design & Installation. Our experienced Designers work with you throughout the Design and remodeling process to help you select the best combination of styles, colors and finishes for your budget and taste.
Our Specialities
•	Majority of work( cutting, pressing & edge bending ) is done in the factory and only assembling is done in the site.
•	Perfect finishing (With modern Machineries).
•	Fast completion of work (for 3 BHK within 12 days).
•	Good Quality (Branded material & accessories ).
•	Borer and termite proof materials.
•	Water proof material for wet area interiors.
•	No sharp edges (perfect edge bending).
•	Side Fiber beading done with heat melt glue (not water melt glue).
•	Competitive rate (Less than market price)
•	Highly skilled workers.
•	More life (More than 20 to 25 years).
•	More colour & finish choice.
We are Specialized in designing
1.Crockery Units.                                                                                        
2.Kitchen Interiors.
3.T.V.Units
4.Bedroom Wardrobes 
5.Wooden Flooring.
6.Pooja Units
7.Office Interiors
  

WoodMark Interiors
#552/2, 1 St Main Road,
S.M Vishweswaraiah Layout, Chikkabanavara P.O,
Hesaraghatta Main Road,
Bangalore -560090
Mr. Lethish - 9036591680 / 9886592556
Mr. Sathyarajan - 9036147982 / 9480026681
Email : info@woodmarkinteriors.in
Website : www.woodmarkinteriors.in

BORN JEFFREY MICHAEL HAUSERMAN, HE NOW ASSUMES THE NICKNAME AN STAGE NAME JIGGZ. AFTER WRITING AN RECORDING THE WORST MUSIC YOUV EVER HEARD FOR A GOOD 4 YEARS, JIGGZ IS NOW STARTING TO BLOSSOM IN TO THE HIP HOP WORLD. HEAVILY INFLUENCED BY THE WICKED SHIT OR HORRORCORE OR MURDER RAP, WHATEVER YOU WANT TO CALL IT, JIGGZ IS TRYING TO RAP ABOUT HOW HE FEELS AT ANY GIVIN TIME, WHILE STILL KEEPING THAT DEADLY SHARP EDGE TO IT. JIGGZ KNEW HE WANTED TO BE A RAPPER AT A VERY YOUNG AGE, STARTING THE STEW AT THE AGE OF 13. NOW 22 WITH HIS FIRST SHOW BEHIND HIM(THANKS TO MY HOMIES PSYKOTIK) AND HIS FIRST CD BEHIND HIM ENTITLED "IM JUST BEIN ME" JIGGZ PLANS TO CREATE AN ALBUM OF MASS IMPORTANCE TO HIM. WITH THE PASSING OF HIS FATHER AND OTHER DEEP ROOTED STRUGGLES, THIS CD WILL BRING THOS THAT KNOW HIM PERSONALLY TO TERMS, AND THOS THAT DONT, WELL THEY BETTER BUCKLE UP, CUZ ITS GUNNA BE A HELLUVA BUMPY RIDE. IN HIS SECOND FULL LENGTH ENTITLED 'SKATTERBRAINED', JIGGZ WILL REALEASE HIS PASSIONATE ANGER MOST HAVE NEVER SEEN OR HEARD. JIGGZ HAD HIS WORLD DESTROIED AND THIS ALBUM IS GOING TO PUT IT BACK TOGETHER. WHEN ASKED HOW HE'S HOLDING UP JIGGZ HAD THIS TO SAY, "MY LIFE IS DIFFERENT NOW, THINGS HAVE DEFFINATLY CHANGED. I KNOW IMA STRONG PERSON, BUT ON THE REAL, IF I DIDNT HAVE RAP AS MY OUTLET, I COULDNT SAY WITH FULL CONFIDENCE THAT ID STILL BE HERE. I HOPE THIS ALBUM CAN SUPER GLUE MY SOUL BACK TOGETHER. THREW ALL THE PAIN I GOTTA KEEP GRINDIN'. THANK YOU TO EVERYONE THAT HAS STUCK BY ME, AND FUCK YOU TO THOS THAT HAVE LET ME GO." STAY TUNED AND HELP THE JIGGZ EPIDEMIC SPREAD LIKE SWINE FLU. 

BLAKHATZ

An original adult contemporary acoustic rock outfit , their songs live in the world with eyes wide open. Fresh, lyrical imagery and catchy, well-developed melodies.

Live they deliver energetic retro feel with new edge. Sharp observation brimming with rich harmonies, humour & social comment.



Formed in 2007 after epic individual and diverse musical careers - incubated and matured in a wild cesspool of clubs pubs and concerts.

From the smudged mascara 80s on through genres new romantic rock, punk, ska, jazz, country, childrens to stage musicals,film theatre & TV.

Don’t wait for the book. 

Values in life shape the core of Blakhatz music.

Blakhatz are....

Greg Nishimura Parke - guitar flute sax keys vocals

Occupation: Musician & fortune teller.

(And yes he does know the winning first 4 in 2011 Melbourne Cup.)

Motto: Start early finish late.

Jeremy Cook – drums, ukulele,vocals

Mr backbeat, kitchen sink clanker, washboard scraper discovers ukulele and head stand. From Mic Conway’s National Junk Band, Pardon Me Boys, the re-ignited Captain Matchbox Whoopee Band and now the Hatz of Blak.

Motto: Everyday’s a big day then you’re dead !

Peter Watson - guitars vocals

If Mars needs guitars we should astronaut him in – but not yet as he has a mission in Blak. When the shutters came down on the Venetians, his 6 strings weren’t silenced.

Motto: Pedal faster!!

Mark Jones - bass/guitars/banjo vocal

Doctor of chords and harmonies. Mr bass holds it all together, he the glue.

Motto: I’ll write it myself !!!


A celestial space enigma, piloted down from the Heavens, American Jesus seeks to save humanity from the imperial reign of pop music pragmatics.  Conjured from space, Don Bear, The Jester and Minister House were called to duty by the Space Cowboy.  Their mission, bring Rock and Roll back to the universe!  Incorporating blues, soul, funk and hip hop American Jesus sucker punches your ears with heavy riffs, groovy rythms and a stage show that will leave you dizzy!

 

Under the original alias, Hickhop, American Jesus was formed by Dizzlephunk.  No stranger to the industry, Dizzle has propelled himself as a musician and enterainment innovator.  His vision was to combine "All American" genres into one unique blend.  The musical concept of The Jesus is similar to a DJ set.  non stop, no breaks and furiously intense.  In order to achieve such magnitude, a band of brothers were swiftly recruited.

 

Summoned from the mountains of Valhalla, The Jester was a no question necessity.  In need of earth shattering guitar solos, valiant virtues and a great set of hair, he was hand plucked to serve a bigger purpose.  Initiated and geared for battle, the cowboy and the mondern day minstrel set course for Planet Abearica.

 

Trekking through a thick lush landscape for weeks, our two characters found their way upon an illusive cave.  Seeking monumental lyrics and a grizzly attitude, the Don Bear was abruptly awakened from hibernation.  Fuzzy and full of energy, The Bear quickly adhered to the call.  Leaving a life of solice, Don Bear packed his acoustic sword, a book of magical words and his overalls.  "To America," he shouted and thus began their journey home.

 

Before American Jesus could call themselved whole, they needed one final piece.  An engineer was necessary to bring everything together.  Touching down in Missouri, Minister House left his congregation behind to fulfill his destiny.  Blessed with a technical ear and ridiculous rythm ability, the House would become the glue binding American Jesus.  When asked to serve his country, he responded, "Let me grab my suit."

 

These enigmatic souls joined together on an improbable mission that combines courage and fortitude, embodying the musical spirit.  With the release of their E.P. and their hit single "Rock Song," this band of brothers has recieved nothing but love from the American people. Conquering prestigious venues throughout Orlando, it wont be long before you find them rocking a town near you.  Holding a standard that has been lost in modern civilization, American Jesus strives for the edge and quality that will put them over that top!


http://soundcloud.com/somnoroase-pasarele

Oil painting is the process of painting with pigments that are bound with a medium of drying oil—especially in early modern Europe, linseed oil. Often an oil such as linseed was boiled with a resin such as pine resin or even frankincense; these were called 'varnishes' and were prized for their body and gloss. Other oils occasionally used include poppyseed oil, walnut oil, and safflower oil. These oils confer various properties to the oil paint, such as less yellowing or different drying times. Certain differences are also visible in the sheen of the paints depending on the oil. Painters often use different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular consistency depending on the medium.

Although oil paint was first used for the Buddhist Paintings by Indian and Chinese painters in western Afghanistan sometime between the fifth and ninth centuries,[citation needed] it did not gain popularity until the 15th century. Its practice may have migrated westward during the Middle Ages. Oil paint eventually became the principal medium used for creating artworks as its advantages became widely known. The transition began with Early Netherlandish painting in northern Europe, and by the height of the Renaissance oil painting techniques had almost completely replaced tempera paints in the majority of Europe.

In recent years, water miscible oil paint has come to prominence, to some extent replacing the usage of traditional oils. Water soluble paints contain an emulsifier which allows them to be thinned with water (rather than with paint thinner), and allows very fast drying times (1-3 days) when compared with traditional oils (1-3 weeks).

Contents  [hide] 
1 Techniques
2 History
3 Ingredients
4 Supports for oil painting
5 Process
6 Examples of famous works
7 See also
8 References
[edit]Techniques



Self portrait, at work, Anders Zorn, 1897
Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint. Oil paint is usually mixed with linseed oil, artist grade mineral spirits or other solvents to create a thinner, faster or slower drying paint. Because these solvents thin the oil in the paint, they can also be used to clean paint brushes. A basic rule of oil paint application is 'fat over lean'. This means that each additional layer of paint should contain more oil than the layer below to allow proper drying. If each additional layer contains less oil, the final painting will crack and peel. There are many other media that can be used in oil painting, including cold wax, resins, and varnishes. These additional media can aid the painter in adjusting the translucency of the paint, the sheen of the paint, the density or 'body' of the paint, and the ability of the paint to hold or conceal the brushstroke. These variables are closely related to the expressive capacity of oil paint.

Traditionally, paint was transferred to the painting surface using paint brushes, but there are other methods, including using palette knives and rags. Oil paint remains wet longer than many other types of artists' materials, enabling the artist to change the color, texture or form of the figure. At times, the painter might even remove an entire layer of paint and begin anew. This can be done with a rag and some turpentine for a certain time while the paint is wet, but after a while, the hardened layer must be scraped. Oil paint dries by oxidation, not evaporation, and is usually dry to the touch within a span of two weeks. It is generally dry enough to be varnished in six months to a year. Art conservators do not consider an oil painting completely dry until it is 60 to 80 years old.[citation needed]

[edit]History



The Francesco St Jerome by Palma il Giovane, circa 1590. A rare example of oil painting on copper.
Although the history of tempera and related media in Europe indicates that oil painting was discovered there independently.Surfaces like shields — both those used in tournaments and those hung as decorations — were more durable when painted in oil-based media than when painted in the traditional tempera paints.

Most Renaissance sources, in particular Vasari, credited northern European painters of the 15th century, and Jan van Eyck in particular, with the "invention" of painting with oil media on wood panel, however Theophilus (Roger of Helmarshausen?) clearly gives instructions for oil-based painting in his treatise, On Various Arts, written in 1125. At this period it was probably used for painting sculptures, carvings and wood fittings, perhaps especially for outdoor use. Early Netherlandish painting in the 15th century was however the first to make oil the usual painting medium, and explore the use of layers and glazes, followed by the rest of Northern Europe, and only then Italy. Early works were still panel paintings on wood, but around the end of the 15th century canvas became more popular, as it was cheaper, easier to transport, and allowed larger works. Venice, where sail-canvas was easily available, led the move. The popularity of oil spread through Italy from the North, starting in Venice in the late 15th century. By 1540 the previous method for painting on panel, tempera had become all but extinct, although Italians continued to use fresco for wall paintings, which was more difficult in Northern climates.

[edit]Ingredients



Flax seed is the source of linseed oil.
The linseed oil itself comes from the flax seed, a common fiber crop. It is interesting to note that linen, an important "support" for oil painting (see below) also comes from the flax plant. Safflower oil, or the more traditional walnut or poppyseed oil, are sometimes used in formulating lighter colors such as white because it "yellows" less on drying than does linseed oil, but it has the slight drawback of drying more slowly.


Recent advances in chemistry have produced modern water miscible oil paints that can be used with and cleaned up with water. Small alterations in the molecular structure of the oil creates this water miscible property.

A still-newer type of paint, heat-set oils, remain liquid until heated to 265–280 °F (130–138 °C) for about 15 minutes. Since the paint never dries otherwise, cleanup is not needed (except when one wants to use a different color and the same brush). Although not technically true oils (the medium is an unidentified "non-drying synthetic oily liquid, imbedded with a heat sensitive curing agent"), the paintings resemble oil paintings and are usually shown as oil paintings.

[edit]Supports for oil painting



Splined canvas
Traditional artists' canvas is made from linen, but less expensive cotton fabric has gained popularity. The artist first prepares a wooden frame called a "stretcher" or "strainer". The difference between the first and second is that stretchers are slightly adjustable, while strainers are rigid and lack adjustable corner notches. The canvas is then pulled across the wooden frame and tacked or stapled tightly to the back edge. Then, the artist applies a "size" to isolate the canvas from the acidic qualities of the paint. Traditionally, the canvas was coated with a layer of animal glue (size), (modern painters will use rabbit skin glue) and primed with lead white paint, sometimes with added chalk. Panels were prepared with a gesso, a mixture of glue and chalk.

Modern acrylic "gesso" is made of titanium dioxide with an acrylic binder. It is frequently used on canvas, whereas real gesso is not suitable for that application. The artist might apply several layers of gesso, sanding each smooth after it has dried. Acrylic gesso is very difficult to sand. One manufacturer makes a sandable acrylic gesso, but it is intended for panels only, not canvas. It is possible to tone the gesso to a particular color, but most store-bought gesso is white. The gesso layer will tend to draw the oil paint into the porous surface, depending on the thickness of the gesso layer. Excessive or uneven gesso layers are sometimes visible in the surface of finished paintings as a change in the layer that's not from the paint.

Standard sizes for oil paintings were set in France in the 19th century. The standards were used by most artists, not only the French, as it was – and evidently still is – supported by the main suppliers of artist materials. The main separation from size 0 (toile de 0) to size 120 (toile de 120) is divided in separate runs for figures (figure), landscapes (paysage) and marines (marine) which more or less keep the diagonal. Thus a 0 figure corresponds in height with a paysage 1 and a marine 2.[1]

Although surfaces like linoleum, wooden panel, paper, slate, pressed wood, and cardboard have been used, the most popular surface since the 16th century has been canvas, although many artists used panel through the 17th century and beyond. Panel is more expensive, heavier, harder to transport, and prone to warp or split in poor conditions. For fine detail, however, the absolute solidity of a wooden panel gives an advantage.

[edit]Process



A palette
The artist might sketch an outline of their subject prior to applying pigment to the surface. "Pigment" may be any number of natural substances with color, such as sulphur for yellow or cobalt for blue. The pigment is mixed with oil, usually linseed oil but other oils may be used as well. The various oils dry differently, creating assorted effects.

Traditionally, artists mixed their own paints from raw pigments that they often ground themselves and medium. This made portability difficult and kept most painting activities confined to the studio. This changed in the late 1800s, when oil paint in tubes became widely available. Artists could mix colors quickly and easily, which enabled, for the first time, relatively convenient plein air (outdoor) painting (a common approach in French Impressionism).

The artist most often uses a brush to apply the paint. Brushes are made from a variety of fibers to create different effects. For example, brushes made with hog's bristle might be used for bolder strokes and impasto textures. Fitch hair and mongoose hair brushes are fine and smooth, and thus answer well for portraits and detail work. Even more expensive are red sable brushes (weasel hair). The finest quality brushes are called kolinsky sable; these brush fibers are taken from the tail of the Siberian mink. This hair keeps a superfine point, has smooth handling, and good memory (it returns to its original point when lifted off the canvas); this is known to artists as a brush's "snap."

In the past few decades, many synthetic brushes have come on the market. These are very durable and can be quite good, as well as cost efficient. Floppy fibers with no snap, such as squirrel hair, are generally not used by oil painters. Sizes of brushes also are widely varied and used for different effects. For example, a "round" is a pointed brush used for detail work. "Flat" brushes are used to apply broad swaths of color. "Bright" is a flat with shorter brush hairs. "Filbert" is a flat with rounded corners. "Egbert" is a very long "Filbert" and is rare. The artist might also apply paint with a palette knife, which is a flat, metal blade. A palette knife may also be used to remove paint from the canvas when necessary. A variety of unconventional tools, such as rags, sponges, and cotton swabs, may be used. Some artists even paint with their fingers.



Tubes of paint
Most artists paint in layers, which is simply called "Indirect Painting". The method was first perfected through an adaptation of the egg tempera painting technique and was applied by the Flemish painters in Northern Europe with pigments ground in linseed oil. More recently, this approach has been called the "Mixed Technique" or "Mixed Method". The first coat (also called "underpainting") is laid down, often painted with egg tempera or turpentine-thinned paint. This layer helps to "tone" the canvas and to cover the white of the gesso. Many artists use this layer to sketch out the composition. This first layer can be adjusted before moving forward, an advantage over the 'cartooning' method used in Fresco technique. After this layer dries, the artist might then proceed by painting a "mosaic" of color swatches, working from darkest to lightest. The borders of the colors are blended together when the "mosaic" is completed. This mosaic layer is then left to dry before applying details.

Artists in later periods, such as the impressionist era, often used this Wet-on-wet method more widely, blending the wet paint on the canvas without following the Renaissance-era approach of layering and glazing. This method is also called "alla prima". This method was created due to the advent of painting outdoors, instead of inside a studio. While outside, an artist did not have the time to let each layer of paint dry before adding a new layer. Several contemporary artists use a blend of both techniques, which can add bold color (wet-on-wet) as well as the depth of layers through glazing.

When the image is finished and has dried for up to a year, an artist often seals the work with a layer of varnish that is typically made from damar gum crystals dissolved in turpentine. Such varnishes can be removed without disturbing the oil painting itself, to enable cleaning and conservation. Some contemporary artists decide not to varnish their work, preferring that the surfaces remain varnish-free.

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