2814 are one of the most innovative musical acts in recent memory. Blending breathtaking ambient soundscapes and futuristic downtempo experiments with a gorgeous sense of electronic melancholy and urban atmosphere, the ever-elusive duo’s sound is defined by their brilliant adoration for warped, hypnagogic nostalgia and the simultaneous outlook into a futuristic dystopian setting – a winning combination of loss and optimism translated through a heavily altered new age lens. Rain Temple, their third full-length album, represents a new chapter in 2814′s sound: sprawling synth drones, beautifully distant vocals, swirling percussion, and an ethereal sonic aura tie together a simply masterful record. HKE and t e l e p a t h have once again created a stunning artistic statement that exceeds expectation and goes far beyond most modern ambient music, reminding us that beyond our late night somber and eternal wonder, we all remain.
7evenThirty and Gensu Dean. Rapper and producer. Mello Music Group stalwarts and Jackson, Mississippi natives turned Dallas denizens. Their working together was fated, rooted in shared soil before it was written in indelible ink. With 7evenThirty’s sophomore album, The Problem, the duo have committed their destined collaboration to wax, giving rap listeners an album that wrestles with the rapidly changing present and carves out a much-deserved space in the forever-uncertain future.Though 7evenThirty’s first solo effort, Heaven’s Computer, was written as a semi-autobiographical sci-fi narrative, he’s landed squarely on terra firma this time around. In fact, his previous interstellar retreat inward has resulted in an incisive outward gaze at his home planet. The city buildings might be crumbling, the bars and beats of other rappers and producers homogenized, but there’s hope.With his delivery sharper than ever, 7evenThirty is comfortable and confident no matter where Dean’s snares and kicks hit. He moves in and out of double time with deceptive ease. Furthermore, his styles are markedly varied throughout, ranging from rigid and rapid fire (“Russian Revolver”) to bouncy and playful (“Foot On the Ground”).Still, 7evenThirty’s dexterity behind the mic doesn’t supersede his thought provoking lyrics. Case in point, “Making of a Vigilante,” which deftly outlines a scorned and vengeful woman’s haunting and convoluted attempt to enact justice. 7evenThirty also tackles several other emotionally and sociologically rich topics. The perils and paranoia associated with our dependence on technology (“Off the Grid”), the problems facing the next generation (“Generation Why”) -- amidst the rubble, he leaves no stone unturned.Working solely with his preferred SP-1200, which only allows ten seconds of sample time, Gensu Dean has once again managed to modernize golden era aesthetics, crafting intricate and fluid beats through stringent composition. Favoring sonic diversity over claustrophobic cohesion, Dean’s banging suites are perfectly tailored to 7evenThirty’s wide-ranging subject matter. Wherever 7evenThirty goes Dean sidles up next to him, flipping lush soul (“Filthy Rich”), blues-rock (“The Problem”), Ukrainian pop (“Foot on the Ground”), and more.The sole feature comes from venerated New York MC Sean Price on “Hook Heavy.” Over Gensu Dean’s menacing production, Price’s gruff deadpan delivery proves the perfect counterpart for 7evenThirty’s energetic and elastic wordplay.With The Problem, 7evenThirty and Gensu Dean have cut all but the essential. The twelve tracks are clear and concise in execution, totaling slightly less than forty minutes. Not every question is answered, but the most important are explored. Listen closely for the answers.”
Digitally remastered and expanded edition housed in jewel case with special silver foil cover to commemorate the 25th Anniversary of this release. In celebration of the 25th anniversary of People's Instinctive Travels and the Paths of Rhythm, hip hop pioneers A Tribe Called Quest release the original album remastered from the original tapes by Grammy-Award winning engineer Bob Power with three exclusive new remixes by a few of today's biggest hip hop artists who have credited A Tribe Called Quest as a major creative influence. Featuring remastered versions of classic cuts like "Bonita Applebum", "I Left My Wallet in El Segundo", "Can I Kick It?" and more.
2016 release from the Harlem-based hip hop artist, a member of the A$AP Mob (along with A$AP Rocky and A$AP Yams). Always Strive And Prosper is the long-awaited follow-up to 2013's Trap Lord. The album features collaborations with Schoolboy Q, Future, Big Sean and others.
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At. Long. Last. ASAP (stylized as At.Long.Last.A$AP) is the second studio album by American hip hop recording artist A$AP Rocky. It was released on May 26, 2015, by A$AP Worldwide, Polo Grounds Music and RCA Records. The album serves as the follow-up to his debut album, Long. Live. A$AP (2013). At. Long. Last. ASAP features guest appearances from Joe Fox, Bones, Future, M.I.A., Schoolboy Q, Kanye West, Juicy J, UGK, James Fauntleroy, Lil Wayne, Rod Stewart, Miguel, Mark Ronson, Mos Def, Acyde and A$AP Yams. The production on the album was handled by producers such as Danger Mouse, Jim Jonsin, Mark Ronson, Emile, Mike Dean and Kanye West, among others, including Rocky himself, under the pseudonym LORD FLACKO. The album was supported by the release of three singles, "Lord Pretty Flacko Jodye 2 (LPFJ2)", "Everyday" and "L$D".
A-Trak is EVERYWHERE: a DJ hero who has spent years scratching his way through the world’s biggest festivals, sold out club shows, and even stadiums both solo and as half of disco house titans Duck Sauce. Along with his acclaimed remixes and original productions, he’s also co-founder of Fool’s Gold, the trendsetting independent record label. Fool’s Gold is proud to present a unique split color vinyl, double A-side 12” single featuring A-Trak’s biggest songs of the summer: “Money Makin’,” a feel-good, pool party electro anthem made in collaboration with rising star Dillon Francis, and “Piss Test,” a speaker-busting slice of bass heavy Parental Advisory rap, starring underground heroes Juicy J of Three 6 Mafia and Fool’s Gold’s own critically acclaimed MC Danny Brown. This 12” is a collectors’ item in the making, get yours now! - Limited edition, split color vinyl pressing - Contains vinyl exclusive edits + acapella tracks
Limited to 1,000 copies worldwide. Includes Serato control tone on the B-side. Electronic music tastemaker, DJ hero and all-around cultural force A-Trak’s “Parallel Lines” feat. Phantogram is a lush, genre-defying jam. With festival favorites Phantogram providing soaring vocals, A-Trak mixes guitar riffs with his signature, turntable-inspired production and peerless ear for beats. Spin summer all year round with Fool’s Gold’s special edition 7” vinyl pressing (limited to 1000 copies worldwide), featuring the original track on the A-Side and Serato tone on the B-side (ultra rare on 7” format).
Mr. Wonderful is the upcoming second studio album by American hip hop recording artist Action Bronson, scheduled to be released on March 24, 2015, by Atlantic Records and Vice Records. The album is Bronson's first for a major label after signing to Atlantic and Vice in August 2012. It was preceded by several mixtapes and EPs, including the Blue Chips series and Saaab Stories (2013). The album, recorded throughout 2014, was produced by several high-profile record producers, such as The Alchemist, Mark Ronson and Noah "40" Shebib. The album has guest appearances by Big Body Bes, Meyhem Lauren, Chauncy Sherod, Chance the Rapper and Party Supplies. It was supported by three singles, "Easy Rider", "Actin Crazy", and "Terry".
Saaab Stories is the second extended play by American rapper Action Bronson. The EP was released on June 11, 2013 and is entirely produced by American record producer Harry Fraud. The EP, which was released by Vice and Atlantic Records, serves as Bronson's major label debut project. It features guest appearances from fellow American rappers Wiz Khalifa, Prodigy and Raekwon.
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The debut 7” release from Hobo Camp and 2nd release as a label comes from Adam Chini from San Diego, California. Adam is the lead keyboard player in Brian Ellis’ Reflection, and this release is a solo journey into a world of synth-ed out modern funk with a tinge of psychedelic bliss. Made using all analog equipment and vintage drum machines, Chini channels the vibe of lo-fi boogie funk rarities and creates a private press style release that could have been released at any point in time (is this from 1982, 1994 or 2016?)
In the four years, since the release of Adrian Younge's Something About April, he has been coined America's black genius: the evocation of analog vestige in a digital era. His majestic music has garnered him reverence, likened to Ennio Morricone's best work and the Beatles' tenacity to create new sounds. Fortuitously, Something About April has made an indelible impression on modern vinyl heads and producers alike, being sampled by DJ Premier, Jay-Z, Common, 50 Cent and more. The Something About April brand is an axiom to the modern "Breakbeat" and Linear Labs is happy to announce its successor: Something About April II. Recorded with Younge's collection of rare instruments, Something About April II advances his musical paradigm with enterprising concepts and grander compositions - it synthesizes the boundaries between dark American soul and classic European cinema. With effervescent conviction,Younge executes with an array of entrancing vocalists: Laetitia Sadier (Stereolab) and Bilal perform duets on "Step Beyond" and "La Ballade," reminiscent of Serge Gainsbourg and Jane Birkin; Raphael Saadiq blends "Black Jazz" vocals with psychedelic soul on "Magic Music;" Israeli star, Karolina, delivers haunting chants over concertos like "Hear my Love" and "Winter is Here;" Loren Oden croons as if the apparent ghost of Donnie Hathaway created one last love song, "Sandrine." Younge is the experimental spirit of the modernist vanguard, looking at the past to create the future. What this album extrapolates, from vinyl culture, will become further magnified by its sampling down the line. Something About April II will replace the former as a holy grail for producers and collectors alike.
This, too, is a story about control. It’s a manual, maybe half Rosetta Stone, half bird guide. It was made the way they made electronic music in the good old days, all analog everything, right after synthesizers shrunk to a manageable size and you didn’t have to trek down to a university to use one anymore. Hard-earned. Tastes different. Our parents’ electronic. And its subject is staying together, that thing we thought was their province. It’s about trying to fix what hurts. It’s about knowing better. Black Noise is men talking to men about women; Lemonade is a woman talking to women about men, and they both orbit around a failure we take for granted like the sun: loving you is complicated. It’s a skill; we forgot. Adrian Younge calls The Electronique Void an academic album, by which he means it is both instructional and informational. There’s a problem at the heart of it, a woman who’s been told that she’s loved, but she doesn’t recognize that, can’t feel it, may have heard it all before, may be worrying about the wrong things. Jack Waterson, long a guitarist in Younge’s band, plays the role of narrator, sounding professorial and rather superior as he lays out for the woman where she’s erred. That vocoder you hear is Adrian, talking to her on a subterranean level, the way an artist must. There’s a strong sense of rules here, a prescription and a presumption that there is an agreed upon way to do it, and there is also a wrong way, or at least a way that won’t work. And the fact is, as didactic as that sounds, it might be the truth. Maybe everybody who’s alone can be cured. The discourse on the album is the kind of thing that happens when you go blonde and then you can’t keep ‘em off you. These truths are cold and hard, and our hero begrudges the well-meaning advice being rained down upon her as any independent woman would. The science of love, its formulas and if-then constraints, causal relationships and observable properties, is best taught experientially, but learning it hurts so, so bad. Music, especially electronic music, reliant as it is on abstraction and unrepentant as it is about hijacking your physiological responses to tempo and rhythm and dynamics, is a way to get there without going through it. Electronic music as practiced and developed by pioneers like Dick Hyman and Raymond Scott and Wendy Carlos is precise and intentional. In making his first electronic album, Younge took his cues from them, reminding a contemporary audience what a synthesizer, deep in its heart, really could be. The lady of The Electronique Void, only ever seen through a man’s eyes, who’s being told what to do by him, sounds trapped by her history and by her position, her ancestors’ trauma echoing through her lineage and booming out of her as a phobia, distrust, misapprehension, rational response to a fucked up situation. Waterson’s text here seems to say that if his character could go back in time, catch her before the damage was done, she would be able to love. And that’s reasonable. Don’t get hooked. Don’t do wifey shit for a fuck boy. Don’t let it go to your head, no. It’s also possible he has no idea what he’s talking about. The lessons for men in The Electronique Void are unspoken but plain as day. This music is an urgent tutorial. Adrian Younge looks at us and sees the frontline of a crisis, something we only have time to triage right now. This isn’t romantic and it isn’t about settling down. This is the fight of our lives: how to love.
Adult Jazz first appeared back in 2013, amid a flurry of praise surrounding their joyous and addictive debut single 'Springful'. Their unanimously acclaimed debut album Gist Is followed in 2014, self-released on their label Spare Thought, with The Sunday Times calling it "utterly riveting" and the NME and The Line Of Best Fit both naming it their album of the week. Gist Is was a startling and mesmerising voyage from start to finish, taking a labyrinthian, fragmented pop-not-pop path, incorporating songs within songs, while maintaining a sense of humour through some of its complex themes surrounding religion, gender and humanity. Following the release of Gist Is, the band went on to play sell out tours around Europe as well as festivals including Latitude, End of The Road, CMJ and Iceland Airways. The latter was attended by none other than Bjork, who was moved to write about Adult Jazz as ones to watch for Art In America Magazine. David Byrne followed suit and asked them to play at last year's Meltdown festival with Young Marble Giants, while further endorsements came from diverse remixes by Oliver Coates, Happa and a very rare re-work from Shabazz Palaces. Since then the band have been busy collaborating, including producing OKAY KAYA's recent single 'Durer' / 'Keep On Pushin'. Adult Jazz return with a new record 'Earrings Off!' released on May 6 2016 via TriAngle. Comprised of seven tracks, it experiments with sound and song structure as well as its themes and narrative. Harry explains: "The record is about masculinity. Embodiment, lust, idealisation, privilege, legitimacy and limitation. It's about acknowledging the weight, with a view to liberation from its past clout. It's about picking your ideal body, and playing with body language to achieve authenticity. It's about the possibility of authenticity."
The Nickel EP marks Red Apples 45's five year anniversary. It's only right for AG & Ray West to celebrate the label in the spirit it started. The Nickel showcases the duo's chemistry and growth while keeping to their essence. Special guests appearances that include Roc Marciano, L Fudge, John Robinson and Red Apples' own Superstar Dave Dar. With original water color art by world renown artist & Graffiti writer Cern1 of the Ymi crew. To all that have supported us: The red apples movement has been about the music from its inception and will continue to be. Our only goals are quality pieces and culture preservation. Thanks to all the great artists whom have contributed their various talents and energy to our projects along the way. Thank you to all the people who have listened, shared, purchased, blogged, downloaded, interviewed, wrote about & help spread the word of our movement. This EP is dedicated to the late Party Arty.
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A particular perceptive trance from Ahnnu focusing on the finer details - birth name Leland Jackson delivers “Perception” as his 2nd full length avant-garde masterwork for Leaving Records. First run of 300 cassettes wrapped in silver translucent O-Card. Cover collage from Ahnnu, Typography Jesse Moretti, mastered by Matthewdavid.
Airbird & Napolian is comprised of producers Joel Ford (Ford & Lopatin, Ejecta) and Ian Evans who have combined forces for a record on Cascine. The producers met while working on Napolian's Rejoice EP (Software) and an easy chemistry took shape. The debut Airbird & Napolian LP is inspired by west coast dreams and east coast nightmares. These worlds meld to create a gripping blend of American House, Cosmic Funk and Hip Hop. The producers' disparate environments are uniquely present in the material: New York sensibilities shine through in Joel's melodic bass lines, astral vocals and idiosyncratic song construction, while Ian, born and bred in LA, delivers consistently cool and heavy beatscapes, surrounded by psychedelic ambience and hard focus.
From the opening bars of their debut LP, you can tell AJ & The Jiggawatts came to play rough. In a world where mid tempo and middle of the road soul permeates the airwaves, this crew of G.E.D. Soul killers are drawing a line in the sand by making soul music that hits harder, faster and nastier than just about anyone in the game today. AJ Eason's gin soaked vocal howls drip with a carefree carousing not unlike that of a street smart hustler making moves to make ends meet. The band follows suit with highly syncopated melodics, often at breakneck speed, all while maintaining an almost inhuman tightness. Toss all of these elements into a highball glass and garnish with a pinch of rock n' soul and you've got the makings for a serious raw soul cocktail. AJ & The Jiggawatts' self titled full length debut eloquently captures the vibe of a high energy, no nonsense band. The entire album plays out like a wild night on the town with the band, and there is a good chance you're going to jail before the night's over. Tracks like Back Alley Beale Street andBrown Bottle Fever transport the listener to the many bourbon drenched juke joints of Memphis while tracks like Throw A Fitliterally explode with frenetic energy. Get Wild, The Drop, and Shake It For Me bring the raucous party element to the record and Once In A Lifetime and Typical Feeling get things nice and tender. In terms of attitude and straight up bad-assery, this is one of the hypest albums you are going to hear in 2014. Anyone who slept on the Jiggawatts digital EP is advised to not repeat this grievous misstep. The new record is a rough, tough, killer soul machine not to be missed! The Jiggawatts came to get wild, try to keep up. From the opening bars of their debut LP, you can tell AJ & The Jiggawatts came to play rough. In a world where mid tempo and middle of the road soul permeates the airwaves, this crew of G.E.D. Soul killers are drawing a line in the sand by making soul music that hits harder, faster and nastier than just about anyone in the game today. AJ Eason's gin soaked vocal howls drip with a carefree carousing not unlike that of a street smart hustler making moves to make ends meet. The band follows suit with highly syncopated melodics, often at breakneck speed, all while maintaining an almost inhuman tightness. Toss all of these elements into a highball glass and garnish with a pinch of rock n' soul and you've got the makings for a serious raw soul cocktail. AJ & The Jiggawatts' self titled full length debut eloquently captures the vibe of a high energy, no nonsense band. The entire album plays out like a wild night on the town with the band, and there is a good chance you're going to jail before the night's over. Tracks like Back Alley Beale Street andBrown Bottle Fever transport the listener to the many bourbon drenched juke joints of Memphis while tracks like Throw A Fitliterally explode with frenetic energy. Get Wild, The Drop, and Shake It For Me bring the raucous party element to the record and Once In A Lifetime and Typical Feeling get things nice and tender. In terms of attitude and straight up bad-assery, this is one of the hypest albums you are going to hear in 2014. Anyone who slept on the Jiggawatts digital EP is advised to not repeat this grievous misstep. The new record is a rough, tough, killer soul machine not to be missed! The Jiggawatts came to get wild, try to keep up.
The core purpose of this album was to celebrate the universal language that is Hip Hop which is felt globally from people of all sex, race, religious/nonreligious and cultural backgrounds and this is further reinforced by the diversity of the artists involved in the record as well as the lyrical content but it is also a creation born from the shared love of golden era boom bap.
The new album from Boston hip-hop mainstay Akrobatik and follow-up to 2003's Balance, Absolute Value takes the listener on a journey through his diverse range, and he does not go at it alone. An impressive list of guest artists and producers that accompany Ak on Absolute Value include hip-hop legends, some of today's most powerful contemporary names, and members of the underground elite. It all comes off as if Akrobatik is conducting an orchestra of some of the most talented and respected artists in the game. After years of regional rap stardom and underground acclaim, Ak penetrated Hip-Hop's greater critical consciousness as one-third of The Perceptionists with Mr. Lif and DJ Fakts One. Their 2005 Def Jux release, "Black Dialogue," pitched some of music's most resounding criticisms of bandwagon pop culture and the Bush regime, and became the only indie rap project toregister on Rolling Stone's Top 50 Records of the Year list. With AV, Akro deals with issues both personal and socio-political, but never strays too far from his fist-pumping, party-inducing formula for bangers. The effects of life on the road, enlightening misguided youth, perseverance through the toughest of times, and the continuing struggle of Black America are among the issues Akro tackles on AV. And with production from the likes of J-Dilla, Illmind, Beatminerz, 9th Wonder, Hezekiah, J-Zone, and more, Akro has the perfect backdrops to get his points across while keeping the funk totally intact.The list of artists lending their vocal talents to Absolute Value is mind-boggling. Talib Kweli, Chuck D. of Public Enemy, Mr. Lif, Bumpy Knuckles, and Little Brother headline a guest list that would leave any true hip-hop fan brimming with excitement.
We are back again with the defining funky and soulful downtempo beat series Street Bangerz , welcoming in Volume 8 with a body of work by Akshin Alizadeh, the man from Azerbaijan. Taking his cue from his native country, this album sits at a crossroad between East and West incorporating the producer’s strong funk and nu jazz influences as well as his ability to combine funky groves with punchy hip-hop beats. Expect exotic flutes, sidewinding strings, and hypnotic horns accompanied by groovy guitar riffs and slick percussion from hi-hats, snares, claps, and sometimes castanets. Vocal chops and scratching accent select cuts. Like a set of sensational spices, this release is certain to leave a lasting trail of sweet aromatic memories in its wake.
All The Breaks V1 is an incredible addition to your sound library. This record features an impressive collection of 100 original & sought after breakbeats, sourced and remastered from the original records, and then cut down to the essential parts. Below is a sampling of what All The Breaks has to offer, 9 breaks available for preview. Buy All The Breaks now and get these 9 breaks PLUS 91 more classic breaks on vinyl. If you produce/make beats, this is a vital tool and will save you hours/days/years digging for all the original records/breaks this record compiles. HIGHLY RECOMMENDED!
All The Breaks Volume 2 is the second volume with 100 more drum break snippets. This record features an impressive collection of 100 original & sought after breakbeats, sourced and remastered from the original records, and then cut down to the essential parts.
All The Breaks Volume 3 is the third volume with 100 more drum break snippets. This record features an impressive collection of 100 original & sought after breakbeats, sourced and remastered from the original records, and then cut down to the essential parts.
The definitive collection of breakbeats and drums, as sampled by countless hip-hop producers, finally available on cassette. 300 of the most essential and rarest drum breaks of all time remastered from the original records and ready for sampling and chopping. An impressive selection of timeless breaks including multiple versions of "Get Out My Life Woman," and "Sing A Simple Song," staples like "It's A New Day" and "Ashley's Roachclip" and hundreds more rare and classic breaks. All The Breaks has done the hard part for you and trimmed these songs down to just the essential parts where you can chop and sample the kicks, snares, high hats, cymbals, and fills with ease. Whether you are making hip-hop, r&b, electronic, or anything really, All The Breaks is an excellent resource for finding the right drums for your tracks. Even if you're not a producer, this is a must have collection of sounds, and a way to better understand the foundation of hip-hop music. Like Egon said: "Damn, they've just made it TOO EASY." Highly recommended.
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Joseph Abajian (DJ Jab) founded Fat Beats in 1994 with nothing more than a shoestring budget and an earnest obsession with the music, the culture, and the brotherhood of New York’s burgeoning rap scene. What began as a simple vinyl shop in Manhattan’s Lower East Side quickly became an integral hub for artists, both aspiring and established, to convene and collaborate on new projects. Joseph’s timing couldn’t have been more impeccable. When the 90’s cultural zeitgeist – and, in turn, the music industry establishment – chose hip-hop as its new arbiter of cool.
International tourists and touring artists alike flocked to Fat Beats for rare vinyl, kindred spirits, and exclusive in-store performances from Jay Z, Eminem, Gang Starr, Outkast, Slum Village, Mos Def, and more. One thing was clear: the Fat Beats phenomenon could no longer be contained in a single basement shop.
In the late nineties, Abajian proceeded to open new stores in Amsterdam, Tokyo, Los Angeles, and Atlanta. He further expanded the company’s profile to include global distribution and record label branches. Distribution has since proven to be the company’s strongest and most enduring enterprise. Today Fat Beats Distribution stands poised as one of the country’s pre-eminent distributors of vinyl & specialty item records: a proud survivor in an industry now famous for its mortality rate. Despite market fluctuations, technology innovations, and stylistic revolutions, Fat Beats has remained steadfast in its commitment to the timeless vinyl format and to the loyal community who keeps it spinning.
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Fat Beats offers internship opportunities. You must be enrolled in college and reside in the Los Angeles area to be eligible for our programs. If you meet these requirements, please paste your cover letter below and we will contact you if there are open positions available.
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