Are you ready for a journey back into rural America? That’s precisely where our new album of the week is going to carry you: back to a time of irresistible, romantic tunes, back to a vaguely hippie joy and to a love for solar, typically West-Coast choruses and arrangements.

Ten Mile Tide are a magnificently retrò San Francisco band formed in 1999 by brothers Jason and Justin Munning. In the last decade the ensemble has built up a solid following, by playing over 100 shows (even sharing the stage with such well-known names as Hootie and the Blowfish) across the States, and earning a Jammy award nomination for best new groove in 2006.

Obviously, we’re exceptionally proud to present the band’s self-titled EP, something we’re sure our listeners will deeply enjoy. From the stomp-along Freaky Folk of opener “River, Sun & Rain” to the vaguely Ben Harper-ish midtempo ballad “Time is Right“, all the tracks have a mood-building, traditional feeling that difficultly can’t weave its’ way to listeners’ hearts. Obviously all the necessary milestones are tributed, from Creedence Clearwater Revival to the Doobie Brothers, from Bob Dylan to… Dirty Three (specially in the excellent violin work): this is a band that has full ownership of its’ roots yet knows how to re-arrange them into a personal and somewhat modern formula.

Listen to Ten Mile Tide here at BeatPick.com!

Ah, the world of Heavy metal. So many would agree to put it down as an immature, poorly refined genre, based on adolescent testosterone or virtuoso antiques. Yet this would be a big mistake. Few genres have been as open to contamination as Heavy Rock. From classical music to Brazilian tribal music, from experimental electronics to Dance music, practically every relevant style of the last century has somehow found its’ marriage with the genre’s soaring guitars, in the works of authentic musical pioneers.

Moreover, in the past decade the underground and, alas, little known works by bands such as Earth, Stephen O’Malley’s Sunn O))) and Khanate have pushed the boundaries one step further, transforming Black Sabbath’s pivotal doom rifferama into something that is completely avant-garde: the so called “Drone Metal” music movement. Where the low chords and scorching sounds of metal meet the buzzing droning of avantgarde electronics/improvisation creating something that is a pure, and profoundly refined, novelty.

asbestoscape is the creative creature of Luke Shaw, a British musician seeking for his own interpretation of the genre. And what an interpretation it is. An approach that is both loyal to certain Drone/Doom metal schemes (ie. the tendency to inevitably carry melodic moments into the land of low-key cacophonics) and lugubre atmospheres, yet fully aware of all influences that may enrich its’ sound. No surprise therefore if the drum patterns relate far more to Post Rock and Industrial styles than to Doom’s minimal - almost ambient - habits. No surprise that certain guitar riffs (as on opener Artic) have a distinctly shoegazing, Kevin Shields‘ inspired sound.

Of course, this is no album for the faint of heart. It is a deeply sad, melancholic and moody piledriver of a record: yet there is something cathartic in its’ epic crescendos. Like a rainy British day, it’s an experience that can prove itself strangely appealing.

We’re very proud to present such an interesting and fresh project: listen to the album on Beatpick.com!

The Mind behind Minimalist Orchestra is Scooter Vineburgh. Having started his musical experience as a percussionist, Scooter eventually found his songwriting dimension in the use of Roland’s original Handsonic, the HPD-15. The songs written this way gave birth to the exciting band that can be heard on “Arrivals and Departures”, one of the best BeatPick.com albums of the last months.

Joining the founder are Kerry Schneider, Ed Guild and Misha Rutman, plus occasional collaborators Dr.Nigel and Brian Knoth: the band actually works by adding their parts on files sent to each other via-internet, demonstrating once more the exceptional advantages new technology is bringing to musicians. The result is an entrancing mixture of Dub, Dream-Pop and Trip Hop, that, while paying necessary tributes to the genres’ milestones (Portishead and Massive Attack above all), finds personal ways of interpreting such sounds for the 21st century public.

The hyper-Brixton post-dub of “Roots”, the vaguely Sinead O’Connor (pre-reggae transformation) reflection on weather “DifferentHue” and the aquatic electronic soul-DnB in “Flicker” are just some of the highlights on an album that deserves full attention from all those who love their Electronica to be soul-tinged and emotionally involving.

No wonder that the band recently won the Microsoft Crossfader prize as “Next Top Artist”. Just the beginning of an excalation to well deserved public affirmation?

In his recent interview on the official Roland website, Vineburgh stated the following: ” (…) there’s definitely a whole new room for an ‘artistic middle class’ that didn’t used to exist. It used to be that if you didn’t have a major label deal, you didn’t have anything. But now there’s a lot of room for people who have day jobs or families to be involved in the arts, and it is changing the landscape and affording people with different lifestyles the opportunity to make music.” Precisely what we believe in BeatPick.com, where new technology is a key for building, not a demon to be fought off in an absurd attempt to maintain an obsolete state of affairs dominated by a musical oligarchy.

Listen to “Arrivals and Departures” at BeatPick.com, and enjoy!

Meagin Donovan’s album Meet My Monster is cleverly titled, suiting her shady folk-rock style to a T. Her “Kurt Cobain like” vocals bring the darker side to her acoustic guitar – a smoky version of Sheryl Crow that’s gripping.

Tracks like “Time” and “Calling You Home” on this eclectic album are poetically open-hearted and literally calling you home…you will not forget these songs any time soon! Donovan’s “Didn’t Mean to Die” is beautifully haunting with acoustics at its newest branch of life, something to sink your roots into. A definite favorite here at BeatPick.com. Each song on this album is sincere and brilliantly unique, and if you like a change and need to chill, this album will be your newest soundtrack.

Meagin Donovan is dangerously good, So Beware! Look under your bed and check your closest because your about to Meet My Monster. Listen to it here, at BeatPick.com.

“Shifting Sands of a Blue Car” is Australian songwriter Jamison Young’s latest collection of songs. A marvellous ride into the narrative and creativity of a probably underestimated master of composition. Teaming up with producers Pete Wells, Antonio Dixon & Tim Powles (drummer & producer of band The Church, 80’s super group from Australia), Jamison has found a very personal, varying and deeply interesting way of expressing the experience gathered during lengthy travelling all over Europe, in elegant ballads and midtempo rock songs, embellished by high quality arrangements of sorts (from trumpets to strings, from piano to electronica).

In fact, in a certain sense one could say his works are an underground, humble and European response to Sufjan Stevens‘ over-the-top travelling songbooks about American states.

Some of our favourite tracks on the album are opener “How Far”, a semi-folk reflection on life envisioned as a journey (”How Far can a Straight Line go?” questions the chorus), joyful, midtempo soul-rocker “Soldiers of Happiness”, with its’ hooky trumpet riff, and closing ballad “Walk the Streets”, an almost Springsteen guitar-centered composition.

Yet, if you don’t know where to start on this record, we suggest “Top of the Hill”, a groovy, Beck-inspired, tongue-in-cheek parade through the wonders of what inspired Folktronica can create at its’ best.

Jamison is currently living in Norway, and is deeply involved in research and reflection circa the Creative Commons world and philosophy. If interested, we suggest you visit his very well managed website, and his challenging, constantly updated blog.

Jordan Woollen’s self titled album is one of the newest additions here at beatpick.com and what an amazing one at that! This album reflects every genre of music with a mix of vocals, instrumental, sound samples, electronic and big beats with a touch of classical drizzled here and there. Each track will have you guessing what Jordan Woollen’s musical influences really are. From Chemical Brothers, Technotronic to NWA and The Cure, each track is an unexpected but welcoming surprise that will leave you hungry for more.

It’s no wonder that many of Jordan’s tracks have already been licensed in the past to VH1, MTV and Fox Sports. His range of creativity can work with any project, making this album perfect for any tv or film spot. “Venice beats”, is one of many tracks on this album that fit a specific mood, this one in-particular would work perfectly in a bad-ass movie. The intro begins with an eerie finger snapping and lone whistle. The gradual additions of beats and subtle synths turns this threatening eerie track into a cool and dangerous one. “Venice Beats” has  Quentin Tarantino and Jason Bourne written all over it. Other top picks on Jordan Woollen’s album are “Dub Trip”, “Catalina”, “Funk Junk”, “Dramatic” and “Pimp 2NS”.

Although each song is unique, there’s an underlining base of electronic and IDM in each track. Could intelligent dance music be Jordan’s main muse? Who knows, all we care about is that fact that this album’s creativity rocks! You can get funky with “Funk Junk”, big pimpin with “Pimp This” or sophisticated with the track “Dramatic”. Nothing on this album will bore you, if anything it will leave you pumped up and starving for more. What ever your choice, Jorden Woollen offers a buffet of musical genres- so take your pick and fill your plate right here at BeatPick.com!

This new year begins with BeatPicks Track of the Week, “Where the pavement ends”, from Nell Bryden’s latest album, Second Time Around.

“Where the pavement ends” is a fast American folk track. It’s sincere, beautiful and definitely a classic in the making. The lyrics are straight from the heart and Nell’s voice is really what makes this song so strong. Her voice soars with ease on each emotional note of her guitar. It’s touching, motivating and undeniably powerful. Hands down, “Where the Pavement Ends” could be track of the year. Hear it here, at BeatPick.com.

I know you’ve been waiting to hear about the latest of the latest in music and so it brings me great pleasure to introduce you to the album of the week, self titled EP, You Are a Hologram. Eddi Mangrum and Matt Michiels are the brains behind this electric rock album that borders between modernity and classic rock with a definite Blue Oyster Cult influence. You may ask yourself, does this album need more cowbell? Not at all, because this album is the Rolls-Royce of Oysters!

You are a Hologram is a collection of amazingly produced tracks. First to hit our ears on the album is the opening track “Under the Water”, which is probably the finest example of the Nashville duo’s songwriting skills. With its emotional and inspiring semi-ballad, this track’s structure is just a taste of this albums unique and intense style.

“Giant Little Gods” has an edgier more rock base but gradually calms into a very relaxing tune and then shoots right back to rock again. This style is evident throughout the album and is what I believe to be one of the key factors in making this album a success, the subtle emotions will not drive you away but bring you closer!

Honestly, I could talk on and on about You Are a Hologram but I don’t want to give away the goods! Its combination of influences and sounds, from Built to Spill, My Bloody Valentine, Blue Oyster Cult to The Who, this album is absolutely brilliant and gets two thumbs up from us BeatPickers. Catch up on whats hot, hear the full album here at BeatPick.com!

NustyRecords are sound scientists, exploring, creating and modifying what I like to call the ‘Frankenstein’ of music; Digital Sound. Besides researching sound and wave modulation in their laboratory, this brilliant duo like taking their experiments to the streets, performing at random public locations and interacting sound with the rush hour traffic. Their latest creation from the lab is Les Plus Belles Chansons, an album that sets the par for down tempo experimental electronic sound.

Les Plus Belles Chansons consists mostly of gentle electronic rhythms and melodies that sound a lot like another BeatPick artist, KingBastard. Many digital sound experimentalists are radical and tend to step over the fine line of intelligent music into confusing noise. Les Plus Belles Chansons on the other hand, is an experimental album that’s smooth, easy on the ears and yet still cutting edge, reminding me of a particular Bjork masterpiece, “Hyperballad”. Take “Apostrophe” for example, this track is beautifully dreamy mainstream electronica with just a pinch of glitch and IDM. The subtlety in this work is perfect - just the right equation. “Flight Corridor” and “A Kurakowa” seem to be the glimpse into NustyRecords creations to come. Both tracks start off a bit eerie than the rest of the album, and like the previous tracks they gradually become ambient digital sound-scapes. Yet, the longer the album plays the farther from conservative it gets, which I suspect to be Nustyrecords true style. The later tracks on the album are probably closest to what they have in mind in pushing the limits of digital sound, much like that of Aphex Twin and Pan Sonic.

Les Plus Belles Chansons is research gone right, a creation that Victor Frankenstein would most definitely approve of ;). Each track’s unique and underlying some-what conservative attitude is what makes this album great for more than just electronica gurus, but for those who need that gentle guiding hand into the world of intelligent electronic music. What are you waiting for? Take my hand and listen, here the full album right here at BeatPick.com!

Ohn’s “Cowboys & Indians” is the track of this week! Although this track is from Lets Get It on, one Ohn’s older albums, it’s still worthy of being selected! Listen, watch and relax- take a break from work … because you know you want to ;).

Created and Directed by Ken Adams for Big Soma
From the OHN album “Let’s Get It”