#Big Beat Records

[warhead]

[generation-dope]

Lil’ Kim

Hardcore

[summit9999]

(Dance/Electronic related) "Fake Album Cover"

Imagine the first track [A side] is a Techno track, except elements of Psytrance can be heard in the bassline and is very reminiscent of mid-to-late 90's (or even very early 2000's) dance music (specifically Eurodance), while the second track [B side] is a BK (Ben Keen)/Tony De Vit-esque (UK) Hard House edit of the first track. Inspired by "Imagination" by Jens Lissat & Bonzai All Stars and BK's remix of "Don't Ever Stop" by Tony De Vit

[mymelodic-chapel]

The Mystery Trend- So Glad I Found You [Compilation] (Baroque Pop, Psychedelic Pop) Recorded: 1966-1967 Released: 1999 [Big Beat Records] Producer(s): Frank Werber, Randy Steirling

[sinceileftyoublog]

Pitchfork Music Festival 2024: 6 Can’t-miss Non-headliner Sets

Jessica Pratt; Photo by Samuel Hess

BY JORDAN MAINZER

If you had told me in 2014 that a Grammy-friendly psych soul band, a producer who hasn't released an album in almost a decade, and, uh, Alanis Morissette were headlining Pitchfork Music Festival, my jaw would have dropped. Don't get me wrong: I was still surprised when I saw the lineup announcement. But overall, Pitchfork has been heading in a more populist, legacy-based, and pop-friendly direction for a while now, both as a publication and a summer festival. And while I'm just as excited as the next person to belt "Hand in My Pocket" and boogie to "I Know There's Gonna Be (Good Times)", the undercard has always been where it's at for me. Here are 6 non-headliner sets you simply cannot afford to miss.

Photo by Asia Harman

FRIDAY

Rosali, 2:45 P.M., Blue Stage

Indie rocker Rosali Middleman leads her band, Mowed Sound, into what will hopefully be a sunny, yet shady set on Pitchfork's most underrated stage, an effective host for sounds both quiet and loud. Rosali's most recent album Bite Down (Merge) occupies a middle territory. Songs like "Hills on Fire", "Slow Pain", and "Rewind" sport that quintessential Rosali "hard won ease" but not before subtle freak-outs threaten your bliss. It's perfect late afternoon music.

Photo courtesy of Big Beat Records

100 Gecs, 6:15 P.M., Green Stage

The hyperpop duo of Dylan Brady and Laura Les are a year and change removed from releasing their incredible sophomore album 10,000 gecs (Dog Show/Atlantic) and are still touring strong off of that record's combination of earnestness and absurdism. Since we last previewed them, they officially released (via XL) their remix of the Basement Jaxx classic "Where's Your Head At", debuted during a Boiler Room set last year. Who knows what tricks they might pull mere hours before the sun sets on the first day of Pitchfork?

SATURDAY

Photo courtesy of Press

Kara Jackson, 2:30 P.M., Green Stage

Since we last caught the Oak Park singer-songwriter, she's simply toured the hell out of her stellar debut album Why Does The Earth Give Us People To Love? (September) and released a studio version of the cover song she tends to open her sets with: Karen Dalton’s “Right, Wrong or Ready”. But Jackson's hometown afternoon set at the Green Stage will be more than a victory lap. Judging by recent Instagram stories from album collaborators KAINA and Sen Morimoto, this may be a full-band show, more faithful to the full arrangements of the album than the acoustic sets Jackson's been giving. Really, it should be like hearing the record anew.

Photo by Brandon McClain

Wednesday, 4:15 P.M., Green Stage

Simply put, the Asheville country-gazers' Rat Saw God (Dead Oceans) was one of the finest albums of last year, with its mix of Southern poetry and steel guitar freak-outs. Live, they only amp up the urgency, lead vocalist Karly Hartzman morphing on a dime from yodel to scream as guitarist MJ Lenderman, lap steel player Xandy Chelmis, bassist Ethan Baechtold, and drummer Alan Miller build songs from a twangy choogle to a pummeling finish. Watch Wednesday with a beer in hand and take in their darkly humorous tales of desperation--and perhaps an inspired cover or two.

SUNDAY

Photo by Renee Parkhurst

Jessica Pratt, 4:15 P.M., Green Stage

You'll hear that Here in the Pitch (Mexican Summer), singer-songwriter Jessica Pratt's long-awaited follow-up album to 2019's Quiet Signs, features a comparatively "expansive" sound. It's certainly true, the self-labeled perfectionist having taken three and a half years to make a less-than-30-minute album, one rife with echoing percussion and lush orchestration, featuring collaborators old and new. Watching the full-band performance of opening track "Life Is" from The Late Show with Stephen Colbert certainly has me excited to hear these songs come to life on a main Pitchfork stage. Ultimately, though, what mesmerizes me about Here in the Pitch, and Pratt in general, is how front and center she remains no matter how big the backing noise. Her wordless vocals curve around Al Carlson's baritone saxophone on "Better Hate". The all-encompassing quality of her singing matches the inherent eeriness of the organ and rippling drum machine on "Nowhere It Was". She even plays drums on "World on a String", her supposed take on teenage garage rock. A master of entities as concrete as wordplay and as abstract as vibes, she sings, "I want to be the sunlight of the century / I want to be a vestige of our senses free." May we all aspire to be that influential.

Photo by CJ Harvey

Mannequin Pussy, 5:15 P.M., Blue Stage

A new band member and new creative process help spur what may be Mannequin Pussy's best album to date. I Got Heaven (Epitaph), the follow-up LP to 2019's excellent Patience, was the band's first album with multi-instrumentalist Maxine Steen as a full-time member, and it was written in LA with prolific producer John Congleton instead of each band member writing separately at home. The result is a punk band as versatile as they've ever been, something that should stand out during their early evening Blue Stage set on the last day of Pitchfork. Sure, a pent-up crowd will want to yell, "Loud bark, deep bite!" back at Marisa Dabice, and the instantly quotable title track should yield cathartic live experiences till the end of time, whether or not you feel subsumed by Christian hypocrisy like the song's narrator does. But many of the highlights on I Got Heaven showcase the band's softer side. The bossa nova-esque guitars, sparkly synths, and brushed drums of "I Don't Know You" take their time to build up to enveloping shoegaze, while the Buffy the Vampire Slayer-inspired "Nothing Like" juxtaposes a shuffling drum beat with hazy, dreamy guitar akin to late 90s Smashing Pumpkins. And really, during Brat Girl Summer, what will be more anthemic than these words Dabice sings during the horny, slow-building "Split Me Open"? "I'm worried I want you with the power of a thousand suns burning as one."

[nineteenfiftysix]

Dawn Penn - You Don't Love Me (No, No, No) (No No No, 1994)

[odk-2]

Poison Ivy w/ Her Gretsch Guitar

The Cramps - What’s Inside a Girl? (1986) Lux Interior / Poison Ivy Rorschach from: “A Date with Elvis”

Garage-Punk | Psychobilly

Tumblr (left click = play | right click = “save as”) (256kbps)

Personnel: Lux Interior: Vocals Poison Ivy: Guitar / Bass Nick Knox: Drums / Bongos

Produced by The Cramps

Recorded: @ The Ocean Way Studios in Hollywood, California USA during the Fall of 1985

Released: in 1986

Big Beat Records Vengeance Records (CD Reissue)

[Promo Ad: What’s Inside a Girl? + Tour Dates]

Cover Art

[soulmusicsongs]

I've Been Loving You - Steve Colt And The Forty Fives (Hey Girl How Ya Gonna Act / I've Been Loving You, 1967)

[nashvillethotchicken]

If I had a nickel for every time a member of young money started wylin out for no goddamn reason this year I'd have 3 nickels, which isn't a lot but goddamn control your people

[thisisrealy2kok]

Columbia - Y2K Beat The Clock (1999)

[autismmydearwatson]

an important thing the Silmarillion has taught me is that any mighty godlike dark lord can be easily ratio'd by a big enough animal

[parasitic-dreams-au]

ooooohhhh! :)

-miley

*Magma has a horrified look on his face, but not because of Miley.... no... more like a certain someone behind Miley with swirling eyes and looking for revenge.*

[generation-dope]

Junior M.A.F.I.A.

[kingofcomedy]

still processing the whole day, can’t believe it was real

[mymelodic-chapel]

Blackburn & Snow- Something Good for Your Head (Folk Rock, Psychedelic Rock) Recorded: 1965–1967 Released: 1999 [Big Beat Records] Producer(s): Frank Werber, Randy Sterling

[yourboijod]

Big Pun & Big L R.I.P “Book Of Rhymes”, XXL, March 2003.