This is probably one of the most unique and creative executions of a Michael Jackson cover I’ve seen. Kurt Schneider, a songwriter/music producer, arranged and produced the following video while Sam Tsui, a singer/songwriter, lent strong vocals to create an amazing rendition of some of MJ’s greatest hits.

There are so many great artist on YouTube who sing straight into their Web cams, which is great, but I really appreciate the fact that Kurt takes the time to created a fun and creative video for his audience. If you’re looking for some more great videos by Sam and Kurt, check out their cover of Jay Sean’s “Down” and their Glee inspired cover of “Don’t Stop Believin.’”

Like what you saw and heard?  Subscribe to Kurt’s YouTube channel. It’s loaded with 28 videos, including a short film series called “College Musical.” If you want to connect with Sam on Twitter, follow him here and fan him on Facebook while you’re at it.

Something new, a bit ominous and still quite abstract.  Created with all the usual tools, I think it’s a quite interesting track.. at least the arrangement worked out ok I think.

t00nz – Pa Belie Sec En

Some acts toil for years to make their mark. Others never manage to succeed no matter how hard they try. To their eternal frustration, it has taken singer-songwriterThomas Western less than a month to become the talk of the town.

Having moved from Derbyshire to Edinburgh for a spot of postgraduate study and musical adventure, Western’s first month was a whirlwind of activity. He got his first local radio appearance, had his EP in several shops, featured on some prominent blogs and managed to become ‘musician in residence’ at the capital’s much loved Bowery venue.

Not all of this was part of a master plan, as Western happily admits. On his serendipitous Bowery meeting after a Jesus H Foxx gig, he says: “I met Ruth who runs the place, and half-jokingly asked if I could play every week. She said yes”.

As part of the link-up, Western will also produce an album – another unique offshoot of the collaboration between performer and venue. “The plan is for me to write three songs each week to play, then to record and release them as an album at the end of it all”, he enthuses.

After starting out as a drummer, Western has moved on to solo work, although he admits he was “too scared for a long time”. But he says that this also acts as a spur: “In playing by myself I am totally accountable to myself and if the music isn’t good enough, then it is my responsibility to work harder at it”.

Western’s musical style is, at times, similar to the 1960s California folk scene epitomised by Tim Buckley – his vocal style is also not dissimilar, singing in octaves other artists would never dare attempt.

Citing his influences as Woody Guthrie, Bob Dylan, Will Oldham and Jeff Buckley, it’s easy to see where the inspiration has come from in tracks like ‘Plough’ and ‘Your Front Door’, the latter featuring on Western’s wonderfully homemade and packaged EP ‘Quite Early One Morning’. There is also something charming and old fashioned about finding a CD in a shop which appears to be made from paper and UHU glue, potentially falling apart at any moment.

Western plans to release a solo album in addition to his Bowery sessions album. Beyond that, he doesn’t rule out playing as part of a band again. “There is a joy to playing with other people that is lacking from solo performance, so I would really love to get an ensemble together at some point,” he says. “It is dependent on meeting the right people though.”

Given how much Thomas Western has achieved in the short time he has lived in Scotland, by this time next year he could be running the country, although surely he’s too honest for that.

Words: Stevie Kearney

Thomas Western’s EP is available from emusic and iTunes, as well as Avalanche in Edinburgh. His Bowery album will be released later this year and his first full solo album is due to be recorded in early 2010.

Brad Doggett
Brad Doggett covers songs on YouTube like it’s no one’s business, and the best part is that his covers span a wide range of musical genres. You’ll find covers of everything from Michael Jackson to Jason Mraz; Britney Spears to T-Pain. His most recent cover of “I Invented Sex” by Trey Songz got a shout-out from Trey himself on Twitter. He even has a few original songs (check out “Some of your Love“- one of my favorite originals).

A little more about Brad…

Bio (via http://www.youtube.com/doggettbm)
Hey guys, my name is Brad Doggett and I’m 21 years old and I’m from Washington D.C. but I go to school in Richmond. This is a collection of songs I enjoy playing. Check it out, share with your friends if you like it. You should SUBSCRIBE because I’m always playing new songs.

Music
Video description: This song is tough to sing, so many words, so tight though. Wyclef actually saw this video and invited me to open up for him recently at the Norva in Norfolk, so i got to meet him and everything. VERY cool experience, and he threw one hell of a show after i got off.

Stats
Channel Views: 969,173
Style: Acoustic
Age: 21
Joined: January 21, 2007
Subscribers: 40,805
Website: http://www.myspace.com/braddoggett
Twitter: http://twitter.com/braddoggett
YouTube: http://www.youtube.com/doggettbm

//………………………………………………

#include<stdio.h>

bool check(int n)

{

bool c=true;

unsigned int tmp;

if(n==0||n==1) return false;

else if(n==2) return true;

else for(int i=2;i<n-1;i++)

{

tmp=n%i;

if(tmp==0)

{

c=false;

}

}

return c;

}

void main()

{

int m;

scanf(“%d”,&m);

if(check(m))

printf(“yes”);

else

printf(“no”);

}

//…………………………………Compilier by VC6

Notice:

1.  自定义函数，在本实例中体现了出来

bool check(int n)

bool是函数的返回值类型，即true or false

check是函数名

括号里是函数吸入的值(n)和值的类型(int)

2.这里自定义函数的意义，在C++ Primer中的第一章就讲到了，

Problem Divides to some smaller problems,and the problem will be clear and easy.

这个思想在我分析很多程序的时候用处颇多。

但是main()函数是一定要有的

3.这个代码是从论坛上学来的，但是里面用到了unsigned int tmp;

unsigned让我很不解，查了下，大致的理解在这里是定义整数tmp为正整数。

即已知不会为负值的变量的负值采用unsigned来赋值。

A new decade is coming up. And a whole bunch of unsigned, promising and new artists need and deserve some exposure, promotion and recognition.

Reputation is a new recording label, ready to be launched on the 4th of January 2010.

A new social network associated to Reputation label and the new and ever-growing Nervecast show was launched in late October 2009.

This new social network is build for the listeners of the Nervecast show where all the bands included get played and featured on a regular music show.
This show has reached 3.5 million listeners a week, to over 30 regular listening countries, and it’s still increasing.

This network gives the artists the possibility to share the latest news, upcoming events and come in contact with the fans. It’s also a great way to communicate, build and stay in touch and build your own network.

There are featured artists with featured videos etc. And music reviews and articles from Inclination Webzine and Acuvi Review.

]]> http://listentoechoes.wordpress.com/2009/11/16/long-beach-music-fesitval-why-i-declined/ Mon, 16 Nov 2009 01:22:33 +0000 judedez http://listentoechoes.wordpress.com/2009/11/16/long-beach-music-fesitval-why-i-declined/

The band was offered a spot on an upcoming music fesitval that will be held in the city of Long Beach on January 23, 2010.  Unfortunately, after going over the contract I had to decline.  The reasoning behind this is that the band would have to pay $200 to reserve a spot, then sell 20 tickets at $20 a piece.  If we didn’t sell all the tickets, we (the band) would have to pay the remaining balance due.  So for us to play a 45 minute set, it would cost us $600.  I would like to get into the recording studio next year to record an album or possibly two next year, and that is why I had to decline.

I understand and know that major-label bands/acts put large amounts of money down to reserve spots on festivals and even large venues, and as I go further down the line in my music career that i will have to do the same.  But i strongly feel that it is not the best decision at the time.  Besides I can take the $600, rent out a smaller venue for a night and host my own show.  Hmm….

Debut CD - Influenced

David Allen Slater released his Debut CD entitled Influenced on August 15th, 2009.  It contains fifteen well crafted original songs and instrumentals that have already been gaining the attention of a worldwide audience.

The title came from David finding his voice as a songwriter and talented musician after being influenced by the works of musical artists that cover a broad spectrum of genres.  It also comes from his personal influences in his life that helped to forge him into a powerful songwriter who happily wears his heart on his sleeve for all to see.

His strong,  gritty,  soul filled vocals are well suited to everything from Folk to Blues and Rock and he displays his vocal range well throughout the album.  He brings emotion and depth to the songs he sings and draws the listener into each one as he relates his message through his chosen art form so well.

On top of being a talented writer and vocalist, he is also a master of the fretboard putting his own unique touch on each song.  His personal style of playing comes from three decades of mastering his instrument.

This debut release was not only written and performed by DAS but also produced and engineered by him as well.  After teaching himself the art of recording in his home studio over the span of several years, he finally was able to bring to life what he had been  wanting to share with the world…..his own music!

These fifteen tracks have already been heard by fans around the world and found their place in the hearts of so many devoted fans.  Bringing together his experiences in life and the musical influences that helped him to find his own voice, Influenced is a not to missed debut by this promising new artist.

To find out more, please take a moment to visit David’s Official Website @ DAVIDALLENSLATER.COM

..it should sound epic!

Three brilliant bands I’ve had the pleasure of listen to lately is exactly what you can call epic. They are 5 Cent Theatre, The Black Dove Experiment and Audioalysis.

5 Cent Theatre

This music got me immediately to think of Elbow. A newer and violin version of Elbow. And it’s lovely, emotional and sensitive music on its very best.

5 Cent Theatre is a new band, formed in London in 2009.  Some of the members of the band are previously known as Story One. The total line up is Thomas Evans (lead vocals, violin, keyboard), Barny Barratt (lead guitarist), Jess Barratt (bass guitarist, backing vocals), Pete Simon (cello) and Mike Woolf (drums).

Two songs has been released so far, which is Curtain Call and Shifting Sands.

Curtain Call gives you goosebumps. It’s a soulful ballade with violin, deep lyrics and the irresistible mix of alternative folk and folk-rock-punk.

5 Cent Theatre on MySpace and Last.fm.

The Black Dove Experiment

Another band hailing from London is a four piece consisting of Dodger, Daz, Ric and Stevie.

They play the genius mix of shoe gaze, alternative rock and progressive electronica. And the sound is huge.

One self titled EP has been released to far, and the next one are soon ready to be released.

The Black Dove Experiment  on MySpace and Last.fm.

Audioalysis

The sound of Audioalysis is lovely epicness.

Audioalysis are a four piece electronica shoe gaze band from Glasgow, and consisting of Michael Oakley (vocals, keyboard), Stuart Scott (guitar), Colin Mackintosh (bass/guitar) and Steven McLay (drums).

They started up in 2006, and have so far released one EP Audioalysis 1. The next EP will be released in late 2009.

There are six strong tracks on Audioalysis 1, each and one of them have a special theme. The first track Take Me Away is a new wave  – alternative rock piece of work. A good track that keep you hooked. I’m Losing You is a new romantic – piano rock track. It’s pure quality and have a very well arrangement through the song.

Audioalysis on MySpace and Last.fm.

Ball Park Music

This music reminds me of all good things in modern music. It has it all, without making it sound like a cliche.
The lyrics are quirky and very well written. The great mix of pop, modern pop jazz and piano pop makes this music fun and eternal inventive.

Ball Park Music was created by songwriter and vocalist Samuel Cromack in 2006. The rest of the band joined him when they all started at the same course on the university.
The total line-up is Samuel Cromack, Jennifer Boyce, Dan Hanson, Paul Furness, Dean Hanson and Brock Smith.

The debut EP Rolling On the Floor, Laughing Ourselves to Sleep was launched in April 2009, and the single Sea Strangers (I Don’t Really Know You) was released in November 2009.

Rolling On the Floor, Laughing Ourselves to Sleep is a great debut release that show all the great sides about Ball Park Music. This music is a result of someone who really love making music and it’s something you can hear through the music.
Culture Vultures In the Year 2008, All I want is you and Mr Maybe are three very good tracks. They’re all the great sound of Ball Park Music as they’re a bit pop, a bit rock and a great dose of remarkable vocals.

Sea Strangers (I Don’t Really Know You) is a typical “good jazzy piano driven pop song” you easily can be found of. The lyrics here have gone in the right direction from the debut EP, and it is perfectly combined with a remarkable and upbeat tune through the song.

..
MySpace
Last.fm

Other artists to check out:
Bird Automatic
Blame Ringo
Hungry Kids of Hungary

Everyone loves a good ‘list post’ where the author sums up everything into X amount of handy succinct points to therefore make them easier to drink in and follow. Remember the ‘9 Twitter Tips for Artists’ or the ‘8 Tips On How To Make The Most Of Your Mailing List’? Or who could forget the classic* ‘Top 8 Things Unsigned/Independent Artists Do Wrong’?

*my definition of classic may radically differ from yours

Point made.

So you want to record your music? Of course you do, if you don’t record it then you can’t sell 300,000 copies of it and have the Edith Bowman voiceover say “The deluxe Über platinum edition of (insert title here) by (insert your name here) is now out for Christmas. Featuring (insert number 3 smash hit here), (insert over-achieving second single here which received loads of PR after your drummer slept with Kate Moss) and upcoming single (insert critically acclaimed debut single that disappointingly undersold here that you’re re-releasing)” on the prime time advertising slot you foolishly splashed out on after drunkenly agreeing to commit the marketing spend with the pretty blonde ITV advertising representative who got you drunk on Mojitos and complemented your skinny jeans/winkle picker combination.

So what do you need to consider? I asked a few of my friends, who either own, run or work in recording studios for their advice (referred to as ‘JD’ & ‘AG’) and the result was hence thus to fore hitherto:

(Note: whether you’re venturing into the studio for the first time or fifth time hopefully you’ll be able to take something from this).

1)      Are your songs actually ready?

Out of all the points I put forward to my chums this one received the most comment as it would appear you musician lot are just so bloody eager to get into the studio that you and/or your songs are often just not ready. Do you know your song part inside and out? Can you play it without a drummer or will you need a click track? Are the songs you want to record actually good enough? JD comments “Lots of time can be wasted in the studio if you don’t know your part or you’re trying to play something beyond your ability. Practice and be prepared and then more time can be spent in the studio creating and perfecting rather than doing endless takes of the same part in order to get enough bits to stick together to make it passable.” All in all AG sums this up very well; “Rehearsal time is an awful lot cheaper than recording time!”

Amen to that.

2)      Do a bit of market research

What are these tracks actually for? Do you want to release them? Are they purely to demo your ‘new sound’ (in which case you might only need to do live recordings and therefore save yourself some cash)? Do you think you have a track that is potentially ‘sync-worthy’? Whatever your tracks are for will inevitably influence the time and money you spend on the process and also the style it’s recorded. I’ll never forget the time an artist sent us both instrumentals AND television backing track versions! Imagine that! (The difference I hear you ask? The drums are lower in the mix, no “ooh”’s and “ahh”’s and intruding middle eights are cut out).

This can all relate back to a post I wrote a short while ago entitled ‘Different People Have Different Ears For Different Needs’ have a read of that and consider the points raised.

3)      Budget, cash, moolah etc

You may have noticed there is a bit of a recession on at the moment, add to that the fact that the music industry was in its own mini recession before the world joined us in our recession (ever the trend setters that we are) and now we find ourselves in a freaky recession-squared situation. All I’m trying to say in a rather convoluted way is that frugality is the new sexy.

Thanks to points 1 & 2 you should now know how many songs you’re wanting to record and for what purpose. You should now think about how much time it takes to perform this recording wizardry as JD points out: “Long drawn out recording processes are often more problematic than booking a week/weekend and completing it all at once”. Doing it over a number of sessions leaves you too much time to think and just like your ex girlfriend, when you over analyse things you’ll inevitably pick flaws in them and end up wasting valuable time and therefore money. The wisdom continues as he points out “Don’t try and do as many tracks as possible in one session. One or two well recorded tracks is way stronger than ten sloppy ones.”

Amen to that.

4)      Choosing your location

Google is a wonderful thing, it’s the gateway to a better life. Although probably an awful thing to actually say rather than just think; I owe more to Google than I do some of my friends. It gives so much and asks for so little back. Google is your friend. In Google you should trust. So use it.

The key things to research  in choosing a location:

• How much does it cost?
• Who has recorded there before? Artists you respect? Artists whose music you like? Artists you could get in touch with and ask for their honest opinion?
• Do you have a contact who can introduce you to the studio to potentially get a discounted rate?

Really do have a shop around, you never know what deals you just might bag. Due to the current state of the industry you might be able to get a rather high quality studio for cheaper than you think;

At the end of the day
A full studio at a reduced rate is better
Than an empty studio at full rate

That’s the worst haiku ever.

5)      Tracking, Mixing and Mastering

One of my pet hates is when people disregard the advice and opinions of those who know better about a certain subject then them. The prime example of this for myself is when someone ignores what a Doctor has told them. There is no real need for me to tell you this in the blog, but it winds me up to such an extent then maybe somehow someway that last sentence will help stop a singular moronic person doing it. If a sound engineer tells you that a certain aspect of your song isn’t right, then he/she is probably worth listening to. Let us remember that this is their job and before you walked, nay, strutted through those studio doors there were hundreds, if not thousands like you previously.

I understand your music is precious to you, but picture yourself as Demi Moore in Ghost and the studio engineer as Patrick Swayze…

Go with me on this…

Your music is the ball of damp bulbous clay and with the aid of the muscular engineers guiding hands you mould it into a beautiful piece of three and a half minutes audible delight in a no way erotic process.

There are three main processes in recording your works and be aware that not always the same person will provide all three services. Click on the following to learn about Tracking, Mixing and Mastering if you’re not clued up already and be sure to have a conversation about them with the studio before you book any time with them.

6)      Edits and Instrumentals

Pretty straight forward but an alarming amount of artists always forget this as they’re usually extremely giddy by the fact the recording process is done and they can’t wait to get a copy to their mum.

Is your song 5 minutes long? Then get yourself a nice little 3 and a half minute radio edit so the lovely people over at BBC Introducing won’t worry about allocating too much airtime to one artist.

And I’ve harped on about it plenty enough in the past; get instrumentals of everything you do as it helps people like me get your much on TV/adverts/games.

7)      Is your work ethic up to scratch?

Unless you’re prepared to work like your great granddad doing overtime in a coal mine then don’t even bother about booking studio time. This was an issue I was surprised even existed until JD informed me otherwise:

“One last thing:  Work hard. Don’t be drinking beer and pissing about in the studio as you’ll just be wasting money. You can get pissed anywhere, anytime and drinking in the studio is like drinking in a shit bar that cost £400 a day to get into. Be prepared to play your parts over and over and to sing your songs many times. Don’t get impatient. Work hard, take your time and you’ll be a million times more pleased with the end result.”

Amen to that.

So there you go. Follow that and you’ll be alright. If you are looking to record then here at Sentric we’re chums with the following lovely folk so if you’re a Sentric artist get in touch (info at sentricmusic.com) and I’ll introduce you for some preferential ‘mates rates’.

Miloco Studios – Home to 17 studios based all around the UK (and a couple in Europe), they have been home to some of the world’s most famous acts including The Arctic Monkeys, Sugababes, Slipknot, Chemical Brothers, Jamie T and the list goes on. In fact, I went on a tour of their studios just the other week and bumped into Chaka Khan and Lulu (who was wearing some awful shoes and therefore was referred to as ‘Bad Shulu’ for the rest of the tour).

Flesh & Bone Studios – To quote their blurb “Flesh and Bone is a collective of young, seasoned sound engineers and producers working in London. A collective that works with a common purpose for new artist development and the provision of a unique space in which to create.”

Sandhills Studios – To quote their blurb “Sandhills Studios are a 19th century converted cotton-cellar studio, housing a 4000sq/ft recording complex. Featuring a carefully tuned 1000sq/ft live room, adjoining stone reverb chamber, two isolation booths, and a Pro Tools HD equipped control room, the studio can accommodate a vast array of recording scenarios.  From full live tracking to overdubbing, and everywhere in between, Sandhills aims to create a unique environment for every session.”

The Animal Farm – To quote their blurb “The Animal Farm recording studio is in a converted 19th century biscuit factory minutes from the South Bank of River Thames. The studio is designed around classic Neve, SSL and state of the art Pro Tools. With three live areas, lots of natural light and an extensive equipment list The Animal Farm is a creative haven maxed out on the latest gizmos available.”

2Fly Studios – So cool they haven’t even got a website but check out the Alan Smythe’s Wikipedia page who is the brains behind the operation. Based in Sheffield, pretty much anyone who is anyone from South Yorkshire has recorded there at some point.

What I’m listening to this week – Kid Adrift and Little Comets (if you want to win tickets to see the Little Comets in Liverpool and an exclusive Passion Pit T-Shirt then click here)

Oxytocin? Chemical Soup – Kid Adrift – Electro by sentricmusic

What I’m reading this week – We Are The Digital Kids Tumblr

I hope you’ve all checked out our SHINY NEW WEBSITE as well?!
Stay tuned

sP

A-Jeanius

Download Link: The Genesis

De la mano de Taringa nos trae este tutorial

PASOS:

1- Obtener el certificado y key del celular. Esto se logra enviando el n° de IMEI a cualquiera de estos dos enlaces(previo registro al foro):
http://www.elrincondelsymbian.com/Foro/peticiones-certs/58043-como-pedir-un-certificado.html
http://www.clubnseries.com/certificados/27397-pide-aqui-tu-cer-y-key.html

2- Firmar el programa HelloOX con el programa Signsis.exe donde se introduce: el progroma a firmar (en este caso, el HelloOX), el certificado y el key que obtuvimos. El pass para que funcione el Signsis.exe es 0000

3- Instalar el programa HelloOX. Y seguir los pasos de la instalación aceptando todo.

4 – Copiar el archivo Installserver_FP2 en E:\patches previamente creado por nosotros.

5- Ejecutar el Rom_patcher que instalÓ el HelloOX. Seleccionar Installserver_FP2 – Opciones – patch – auto (para no tener que activarlo cada vez que queramos instalar algún programa)

6 – Reiniciar el celular! Y WUALA!!!! INSTALÁ CUALQUIER PROGRAMA COMPATIBLE QUE NO TENGAS PERMISO O QUE LA LICENCIA ESTE CADUCADA.

N-GAGE FUNCIONANDO CON JUEGOS FULL!!![size=18][/size]

1- Instalar el N-Gage 1.10 Build 1318.sisx y luego el patch.sis
El patch es para sacar el cartelito de DEMO de los juegos. Es lo de menos…pero molesto… jjeje

PD: puede que después de haber instalado los juegos y reiniciado el teléfono, les salga un error al ejecutar el juego…. En ese caso, tenés que ir al ROM Patcher (instalado con el HelloOx) y darle a Patch -> Disable
Pack de archivos en este enlace:

Descarga lo Necesario.

Cabe Aclarar que este fue el tutorial que me sirvio, mas no me funciono lo del N-gage, solo el hackeo.

Genre: Post Hardcore
Origin: USA
Label: Unsigned
Length:
Tracklist:
---------------
01. In Loving Memory
02. Kiss For Kill
03. Athenas Song
04. Ms. Charismatic
05. 100 Years War
06. The Wealthy Empresario
07. Leave Me At The Atlantic For The Greatest Mistake I'll Never Make
08. Duets And Messages
09. As The Papers Burn
10. Lockjaw
11. Most Evil Lover
12. Atropa Belladonna (Victim Of Beauty)

Another of my pieces produced for the Scotsman.com’s Under The Radar site, this time on Edinburgh’s The Colourful Band.

Albums centred on a particular city can be tricky – they tend to exclude those unfamiliar with the locale in question.

The Colourful EP

Step forward Ian McKelvie, a West coaster who moved East, spent a thoroughly miserable time in Fife and then settled happily in Edinburgh. He is the singer and songwriter behind The Colourful Band. And it is the historic capital city of our proud wee nation where the majority of the songs on The Colourful EP are based.

Although the band formed just a year ago, all three members have been friends for over a decade. The aim, according to McKelvie, is “really about trying to make a record with a little help from my friends”.

The EP, released earlier this year, features upbeat tales about life on ‘Easter Road’, late night festival shenanigans and reflections from abroad, including ‘Leavin’ New York’, which evokes the familiar feeling of being a stranger in a big city. Much of the writing comes from McKelvie’s ability to use travel and times of solitude as a departure point for inspiration and creativity.

“After graduating, I led a fairly solitary life for the best part of a year in a one horse town in Fife, living on my own and doing a job I wasn’t enjoying,” McKelvie recalls. “So the loneliness and isolation were kept out with the cold by playing and singing.”

After a chance encounter at an open mic night in Edinburgh’s Whistlebinkies, McKelvie was invited to play a venue in New York by an audience member who happened to own a bar in the Big Apple. “I never played his bar but I did play the open mic night at CBGB’s,” he says. “Standing on the corner of 113th and Broadway gave me the inspiration for the song ‘Leavin’ New York’. When I got back to Edinburgh I wrote the words down as soon as I got home.”

The sound of The Colourful Band is heavily influenced by folk music and a sense of place. “Folk songs tend to be written about people or places,” McKelvie notes. “So that’s why I often use my surroundings to inspire me, and sometimes it is cities, sometimes just situations. At the time of writing most of the songs for what would become The Colourful EP I was listening to a lot of folk music, and living in Edinburgh.”

With soothing, folky finger-picking, upbeat riffs and McKelvie’s voice as soft and comforting as velvet underwear, The Colourful Band have charm in abundance. For those of us stuck at home in these financially dark times, McKelvie’s music can do our travelling for us, whilst providing a timely reminder of why home is so special after all.

The latest in my series of profiles of Unsigned Scottish bands, as featured on The Scotsman’s Under the Radar blog.

Some bands appear to do everything right but, when the proverbial push comes to shove, fail to light up the stage. Thankfully, Edinburgh trio My Tiny Robots [MTR] are not one of these bands.

The Robots in the studio

Comprised of frontman Dylan Childs and multi-instrumentalists Ryan Marinello (also of Occasional Flickers fame) and Russell Williams, MTR illuminate the ear-canals with a forever sought but rarely captured trait: charisma.

Underpinned by a playful sense of humour, there’s a great diversity to MTR’s songs. Childs notes: “We always find it reassuring that any comparisons to other bands tend to differ wildly according to the songs that people have heard at any given time.”

A trip to the band’s MySpace confirms this, with the punkish shards of live favourite The Haircut Song juxtaposing against a bizarre cover of Greece staple You’re The One That I Want. It’s a contrast that typifies MTR’s refusal to take life too seriously.

So far, the band’s output has consisted of EPs, with their first release, Some of my Best Ideas, put out on their own label Kraken Records. There are plans afoot to release two more EPs in the spring, but the ultimate aim, according to Childs, “is to make an album or two that we are all really proud of”.

He adds: “None of us has aspirations of world domination, but any time someone you don’t know comes up to you in the street to tell you they think one of your songs is amazing rates pretty highly.”

MTR typify the DIY scene in Scotland by making much of their music at home, although they admit to problems when it comes to the practicalities:

“Recording is often hampered by trying to cram one normal person and two 6′ 5″ – but slim – people into a tiny spare room to share one of the two mics without banging their heads on a cabin bed,” says Childs.

Describing the Edinburgh scene of five years ago as “Glasgow’s fractious and incoherent cousin”, Childs is keen to hail the impact of bands like Meursault, Withered Hand and Jesus H Foxx in breaking new ground for the east coast.

Going hand in hand with this new-music revolution, Childs attributes “some brilliant independent promoters, three times the decent venues of five years ago and bloggers that people actually read” to the success of the scene.

As one of Auld Reekie’s most popular live acts, MTR are a band that understands the need to entertain. But if there’s any doubt about their musical acumen, one listen to Other People Matter will end the debate. It’s not just Edinburgh that needs bands like this; it’s the whole goddamn country.

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Living On The Edge