Pyramid Vritra takes us, the listener, on a journey through space with this record. The Story Of Marsha Lotus is a cohesive piece of music which moves between voluminous new age soundscapes, aggressive glitch-hop and solo piano recitals. This record is a carefully moulded dose of outer-orbit Hip-Hop-Psychedelia.
Levantis - the moniker of one of electronic music's serial innovators - will release his debut longplayer on 30th October 2015 via Technicolour Records (Ninja Tune's imprint for excursions into techno's shadowy fringes). The first Levantis output since 2013's Believe EP on Trilogy Tapes, the 11-track album entitled Romantic Psychology 1 is reportedly "about Nigredo and possession of the shadow". Ninja Tune set up Technicolour as a singles label. After 12”s by Legowelt, Hieroglyphic Being, Florian Kupfer, Kutmah, BNJMN and U, Romantic Psychology 1 is the first album the label has released. The black 180g vinyl LP is housed in an Inspira deep black sleeve with spot varnish type and includes an artwork insert by Eve Ackroyd printed on uncoated 300gsm art card.
Two years after Shigeto released his second full-length, No Better Time Than Now, the busy Detroit polymath, born Zach Saginaw, has finally taken a break from his endless hustle to update everyone on his current musical headspace. "I've been on the road for a long time now and also have been working on other projects," he explains. With projects that include working on a new live ensemble arrangement, playing electronics in a jazz quartet, recording with Detroit rappers, and building a new studio, it's no wonder we haven't heard much from him since 2013. "I haven't found the next step for me yet. I've been making loads of music as always, but I'm still looking for that concrete new path." Shigeto's Intermission EP takes its title quite literally, then, presenting a snapshot of the artist's transition between ideas and inspiration. Indeed, listening to these six eclectic tracks evokes a dynamic sense of exploration, excitement, and stylistic freedom. Saginaw describes Intermission as a collection songs that "point to the past, present, and future." His inimitable hallmarks are certainly there: the heavy drum-machine knock and jazzy synth flourishes of "City Dweller", that airy thumb piano in beat suite "Do My Thing", and "Pulse"'s percussive, polyrhythmic grooves. They mingle with some fresh sounds from Shigeto, too. Mystic pads creep into the mix—especially on beatless, textural drifts "Gently" and "Deep Breathing"—and there's a decidedly unhinged touch to how the producer uses samples, almost like he's teaching himself a new language. But don't get it twisted, there's no grand vision this time out. "They're not meant as a strong message," Saginaw clarifies, "but more of a taste, like a halftime show of sorts." So if Intermission is here to hold us over until Shigeto's next big event, the record's palpable depth and complexity say quite a lot about where the man is now and where he's headed.
Venetian Snares' classic orchestral 2005 album. What if, for just a day, we could both be pigeons? Sometimes one moment in time can take on such an important significance that it becomes an endless world unto itself and everything outside of that moment, past and future spots in time, become the folklore of that world. What if we could both fly over the Királyi Palota and see it just as these pigeons do? A beautiful culture of dissimilar angles as donkey angels above this city. But even in the world of the infinite moment, we cannot choose the feather of our bird and the pigeon may long to be the goose, the donkey the pigeon and so on. Furthermore as our world blossoms out of this single tick in time, it is for one pigeon a swirling romantic flood of euphoric possibility and fascination, for the other an inferior life of shitting on everyone from the sky, awkward and ashamed, resigning themselves to be the wretched nuisance they are painted as by those they shit on. Ultimately, as quickly as our world blooms, our world is discordant, and our pigeons are wounded, and as our world dies, we die, and we are extinct. If only we could kill ourselves over and over until we get it right. So just as an entire genre of music can be born out of one sped up ten second breakbeat, a full symphony orchestra can come together in harmonic unison to create that perfect moment in time, thus every moment can give birth to an entirely new world, and every world can house the perfect moment, and just as that breakbeat may be broken beyond any recognition, that orchestra may combine to bring forth a dissonant barrage of colossal sorrow, and so the moment disintegrates it's world and that world suffocates the moment under it's collapse.
Between their critically acclaimed self-titled debut album and incendiary live shows, Cheatahs proved themselves to be one of the most exciting leftfield guitar bands to come out of the UK in recent years. The London-based band demonstrates their devotion to experimentation even further across their new album Mythologies, leaving behind their debut’s hazy, nostalgic world for an ambitious Technicolor universe in which motorik rhythms, garage and ambient punk flow seamlessly into one another.
The album jacket is a heavy-weight cardboard "tip-on" style that contains two printed inner-sleeves and a fold out "poster" with the lyrics and album credits. This jacket is then encased by a printed velum dust jacket that resembles a dust jacket you would find on a hardcover book. This is then inserted in a poly-bag. Released 19 May 2009Ensemble Arrangements Directed By – Eyvind KangAdditional Ensemble Arrangements – Randall Dunn, Stephen O'Malley, Steve MooreChoir arrangement from Big Church inspired by Dylan Carlson.All songs mixed at London Bridge, Shoreline Nov 08.Aghartha recorded: Litho, Seattle Oct 08; London Bridge, Shoreline Jan 08; Aleph, Seattle Jan 08.Big Church recorded: Litho, Seattle Oct 08; London Bridge, Shoreline Aug 08; Rochuspark, Vienna Aug 08; Aleph, Seattle, Jan 08; Forum Music Village Feb 06.Hunting&Gathering (Cydonia) recorded: Litho, Seattle Oct 08; London Bridge, Shoreline Nov 08; Aleph, Seattle Jan 08.Alice recorded: Litho, Seattle Oct 08; London Bridge, Shoreline Jan 08; Aleph, Seattle Jan 08.Cover is Serra's "out-of-round X" (1999), and was photographed by McKeever.Aziluth/asiyyah Drawing – T. KetolaCyanotypes– Mathilde DarelTriptych Illustration – Cathy WardArt Direction – Stephen O'MalleyPortraits Photography By – Jenn Anderson, Kerry O'Sullivan, Marco Fusinato, Mathilde DarelTeotihuacán Photo – Gisèle VienneWritten By Sunn O)))Produced by Sunn O))) with Randall Dunn & Mell DettmerMastered By Mell Dettmer
For his first ever offering on vinyl, Leaving Records presents “World Music / Perception” in a stunning gatefold double LP package. World Music introduces a series of themes which represent various styles and likenesses adopted in Ahnnu’s growth as a sound artist living in the digital age. In respect to environment, Ahnnu creates a body of sound-work that is transient in nature. Each track is arranged as separate entities and are holistic in the sense that they are intended to inspire an experience of indifference within a space of perpetual sonic motion. “World Music” describes the continuous sensory shift of both meditative neglect and cognitive sophistication when active within a (digitally) connected culture. Perception finds Ahnnu tampering with volume, pitch, and rhythm in the midst of the shivering hum that drives the album forward while camouflaging its detail. The album moves at an almost unnoticeable pace, but it’s filled with delicious rhythms, like the scrambled marching drum of “Scaling,” the flickering pulse of “Intercept,” and the dust-flecked loops on “Elastic.” These percussive tracks carve a form for the ambient subtleties that seem to have the most impact due to their length and timbre. This is wonderfully refined on “The Racer” or even “Anneal,” with its transitory exhalations and crumpled echo.
Torch of the Mystics, the most popular and revered Sun City Girls album, was recorded in the summer of 1988 and became the first LP released on the Majora label in January of 1990 in an edition of 1000 copies (the original CD version was released by Tupelo Recording Company in 1993 and is long out of print). Reissued here for the first time, this record has influenced and inspired a wide variety of musicians and artists and continues to blow the minds of those hearing it for the first time. Arguably as unique a "psychedelic" statement as anything else that has appeared since the early 1970s, Torch of the Mystics cannot easily be compared to any other album you've heard. Here is Byron Coley's original review from the May 1990 issue of I magazine: "Just out of the box, and so majestic that it makes my brain do out-skull jigs across my sizzling, glass-strewn floor, is the Sun City Girls' new LP, Torch of the Mystics. As the heppest of you undoubtedly know, the Girls are a death-defying improv-rock band from Arizona who number no females amongst their membership, but who still bleed profusely on a near-monthly basis. Their recordings tend to be scattershot fiestas of lump-rich style gumbo, and Mystics is easily the richest, lumpiest puddle of guh they've yet emitted. The sounds on this record have moments of style-lifting, however, that should endear them even to fans of olden-days out-rock (a notoriously Luddite audience). At one point you'll 'hear' the circa-65 Mothers chanting 'Help I'm A Rock' while being pushed into a kettle of boiling oil by the West Coast Pop Art Experimental Band; at another you'll swear that your head is stuck in a lardy commode while one of the Fugs' ESP recording sessions rages around your sweat-soaked and heaving trousers. ET-fuckin-CETERA. But these 'cops' are not central parts of the whole. They pop up, rather, amidst swirling, psychedelic ethnic forgeries that will make Can fans renounce post-Landed Kraut Rock wax. Combined with this is greasy, long-wound-out puling that could come from nowhere but the small Arizona trailer park that birthed these honchos. The mix is nothing short of bo-weaving and I can't imagine that this disc will have many equals in 1990."
Dillatronic on CD in limited edition glow-in-the-dark & embossed digipak. Only 3000 CDs Available with this packaging The late, great J Dilla is rightly celebrated as one of the greatest hip-hop producers of all time, in part because his ear for music was so diverse and expansive. From the smooth, soulful soundbeds he laid down for A Tribe Called Quest, Slum Village, The Pharcyde, Common, The Roots, and D’Angelo to the hard-edged, synth-heavy tracks he crafted for Busta Rhymes, Jaylib, Oh No, and Phat Kat, Jay Dee’s music continued to grow and evolve throughout his brief time on this planet. As Dilla’s mother Ma Dukes explains, “He didn’t come with a limited capacity, and real producers produce, produce, and produce. There are no formats for genius workers…just non-stop creations.” Now, a fresh batch of those creations will be made available to the world for the first time, in the form of the latest official J Dilla release, Dillatronic. Presented by Ma Dukes and compiled by DJs Alien Villainz (fellow Detroit natives who worked closely with Dilla), Dillatronic contains over 40 rare instrumentals that showcase Dilla’s undeniable electronic influences. J Dilla’s music was impacted by the diverse musical history of Detroit - the birthplace of Techno and one of the most important cities in the history of electronic music. “You can hear it in songs like ‘Raise It Up’ for Slum Village or ‘Make It Hurt’ for Busta Rhymes,” says Young RJ (Dilla's protégé and member of Slum Village). “The Detroit influence is part of what gave him an edge in production.” With today’s music sounding more electronic than ever, Dillatronic has a shockingly contemporary feel. “These tracks are still ahead of their time sonically,” explains RJ. “The things producers are doing now, Dilla did that 15 years ago.” As the years go by, Ma Dukes plans to continue presenting music fans with the untold chapters in Dilla’s ever-expanding legacy. “I can smile in my heart, knowing my son’s work is being shared with the people as we planned before he passed,” she says. “I only share the best, and I only hope to continue introducing the world to the genius of J Dilla.”
Big Boi (Outkast) and Phantogram have teamed up for their debut release as Big Grams. The seven-track EP features guest appearances from Run the Jewels and Skrillex. Big Grams has been teased for months, leading up to the trio unveiling the project with a performance at Epic Records' Epic Fest at the end of August. Previously, Phantogram's Josh Carter and Sarah Barthel contributed to several tracks on Big Boi's 2012 album Vicious Lies & Dangerous Rumors.
Limited edition picture disc, limited to 1,000 copies. Semi Hendrix is the acid inside the headband and the fork inside the electric socket. It’s hard-core hip-hop, furious voltage spiked with funk and soul. It’s political and street, cerebral and reckless. It’s Jack Splash and Ras Kass running roughshod over everything from economic inequality to racist government policy to your girl. The album title is Breakfast at Banksy’s. Consider it the rare soundtrack for the revolution and the party. The duo formed following Splash’s world tour with his underground cult funk band, Plantlife. Upon its conclusion, the 10-time Grammy-nominated producer and three-time winner decided to leave Miami in favor of Los Angeles. For the native Angeleno, this was where it all began. He’d seen incredible success over the previous decade, producing for Cee-Lo, Alicia Keys, Kendrick Lamar, and a slew of others. But he wanted to return to his roots and make a pure hip-hop album, a passion project with no input from industry types. “I decided that if I was going to make true art, then I needed to work with the best of the best…the Picasso of the West Coast,” says Splash. “And everyone who comes from LA knows that it doesn't get any better than Ras Kass.” If you’re unfamiliar with the Waterproof MC, you need to stop reading this and listen to Soul on Ice, Rasassination, and any of the tracks bodied by the Golden State Warriors (Ras, Saafir and Xzibit). Once you’ve done that, you understand why the Carson-bred rap beast is one of the coldest MCs to ever hypnotize an audience. But neither Splash nor Ras has even done anything quite like Semi Hendrix—probably because no one has ever done anything quite like Semi-Hendrix. It’s a warped psychedelic odyssey glimpsed via two brilliant minds in a crooked world. Produced entirely by Splash, the instrumentals recall classic genre-liquefying experiments like DJ Shadow’s Endtroducing and Bizarre Ride II The Pharcyde. You can file Semi Hendrix somewhere between Gnarls Barkley and Run the Jewels. Faded acid-washed freak-outs fade out from raunchy comedy clips. There are shredding guitar solos and nimble funk lines. Meanwhile, Ras Kass spits flames about Brooklyn hipsters, greedy record labels, and Capitalist inequality. He interweaves Thomas Paine’s anti-Colonial tract, Common Sense with the rapper born Lonnie Lynn. In the course of four bars, he’ll slip in references to Biz Markie, Star Trek, Duke Ellington, and Cab Calloway. The intellect is staggering, but never self-serious. He’ll go from talking about squirters to indicting “Stop and Frisk” policy. The sound is kaleidoscopic. Nothing is sacred. Guest spots include Brothers Voodoo, Cee-Lo and Raheem DeVaughn, Teedra Moses, Kurupt, Montego Meli, Alice Russell, Wrekonize, and Jessica. But for all its virtuosity, this is 100 percent raw. If you wanted to know who Semi Hendrix are, the answer is simple: they’re the wildest style.
New blue-eyed soul/modern soul from Wax Poetics Records (Kendra Morris) Hailing from New York/Newark, NJ, the Jack Moves bring old-school sweet soul into the 21st Century!
With 100% beats by Madlib, Bad Neighbor is the brainchild of MED – a cornerstone in Stones Throw’s history -- and Blu – the voice behind modern classics like Below the Heavens -- who instantly clicked a decade earlier on tour with Emanon. The album is an exclamation point on the idea that began with The Burgundy EP, expanded to include Dam Funk and Mayer Hawthorne on The Buzz EP, and continued until contributions from Anderson.Paak (Dr. Dre’s Compton), Hodgy Beats (Odd Future), and the one-and-only MF DOOM made Bad Neighbor ready to launch. But Bad Neighbor isn’t the first time MED and Madlib’s orbits have collided. A fellow head from the fertile crescent of Oxnard, CA, MED not only guested on the now-classic Soundpieces by Lootpack in ’99, he also dropped into Madvillain’s “Raid” (Madvillainy, 2004) and made his mark on Quasimoto’s Unseen (2000), not to mention making the sole MC appearance on Madlib’s acclaimed Shades of Blue. Madlib, in turn, provided the lion’s share of production on MED’s Classic and Push Comes to Shove alongside J Dilla and Oh No. Meanwhile Blu, besides earning HipHopDX’s “Rookie of the Year” bona fides, put LA back on the map alongside Exile (Below the Heavens, Give Me My Flowers…) and as a self-produced solo artist (Her Favorite Colour, Jesus, York!, Good to Be Home). Bad Neighbor, although hazy, heavy, and blunted under the influence of Madlib’s aesthetic backbone, floats effortlessly above the smoke by virtue of MED and Blu’s sometimes topical, sometimes acrobatic, and always on-point interplay. The album is undoubtedly an extension of all three artists’ signature sounds, but it simultaneously defies all precedents to reaffirm each individual’s position at the forefront of LA’s legendary hip-hop landscape.
The indomitable ODESZA have owned summer 2015 drawing some of the largest crowds around at every major music festival including Coachella, Outside Lands, Bonnaroo, Governors Ball and Lollapalooza, where they recently performed with members of the Chicago Bulls’ drum line. With an enduring live performance and a break neck production schedule that has resulted in recent remixes for Hayden James and Emancipator, Harrison Mills and Clayton Knight continue to refine their craft and outshine their peers. The genesis for “Light” begins in 2014. Little Dragon asked ODESZA to do a remix of a song off their last album, Nabuma Rubberband, but their label accidentally sent ODESZA the stems for a new song that was not on that album. In the midst of a sold out 2014 North American headline tour in support of In Return, ODESZA was too busy to complete a remix. Months after the remix idea was shelved, ODESZA and Little Dragon played a co-headline show in Boston, inspiring an idea to write a new ODESZA track and build it around the Little Dragon vocal stem. Little Dragon’s distinct vocal and ODESZA’s expert production combine to create a late contender for song of the summer, “Light.”
Not only one of Britain’s greatest musical artists, but one of the greatest lyricists full stop, Roots Manuva is back with a dazzling new album, ‘Bleeds’. Past collaborations with everyone from Gorillaz to the Maccabees to Leftfield to Coldcut to the Cinematic Orchestra, Rodney Smith’s influence can be heard right across the musical landscape. Now, with his sixth studio album, he has made his most concise and focussed record to date, his most emotionally affecting and powerful release since his breakthrough, ‘Run Come Save Me.’ Drawing upon production assistance from young British producer, Fred, together with musical heavyweights Four Tet, Adrian Sherwood and Switch’s new production team, With You, the title of the record is, in the man’s own words, an “egocentric jest of daring to do things in the tradition of Jesus: I’m ready to bleed for the artform.” It is, of course, also a reference to the way in which genres, in the sonic world of Roots Manuva, have a tendency to bleed into one another, so that hip hop, reggae, techno, funk, neo-classical, all blend together to create “liquid soul, the blood, the bleeds that paint infinite sacred wonders in our dreams and unfold in our day-to-day.” One of the true pioneers and originals of British music, any album from Roots Manuva is an event. When it’s as good as Bleeds it’s one of the musical events of the year. Both genre-defying and deeply rooted in what he describes as “the culture of Bass and Verb,” the record innovates and consolidates in equal measure. Rodney Smith describes himself as “a British Black musical Mark Rothko” and Bleeds is another masterpiece from this abstract wordsmith.
Having amassed a legion of loyal fans with his signature blend of electronic, psychedelic and rock influences, the artist known as Yppah (pronounced “yip-ah”) is back with perhaps his most intimate work to date. Tiny Pause finds Yppah adopting an enormous technical shift in his writing process, moving away from largely software-based production and live instrumentation to modular synthesizers and samplers. Tiny Pause is informed in large part by shifts in Yppah’s life since his last work, 2012’s Eighty One (Ninja Tune). Having toured the album, moved from Texas to Southern California and transitioned into more ambitious commercial work (for trailers, sound design and music libraries), Yppah soon found himself embracing hardware in a big way, buying and selling gear constantly while writing to find the best-suited combination for his workflow. The addition of two dogs to his home and a newfound hobby of surfing round out Yppah’s biggest influencers for the direction of the new record. And it all shows - the celestial dips and rises in “Occasional Magic,” the cascade of drums in “Little Dreamer,” the fractured ascent of “Spider Hands,” and the human-tinged glitches of “Neighborhoods” all point to an artist matured not only in sound but in perspective.
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Obsessive collector, record store owner and mine of musical knowledge, Zaf is vinyl junkie of the highest order. His first ‘Private Wax’ compilation came in 2012 and immediately became a highly sought after gem, due to the rare and wonderful disco and boogie contained within. Owning the world’s premiere website for rare records and counting Gilles Peterson & Norman Jay among his customers allows Zaf a near superhuman selection of music to choose from, so anyone worried that he might have used up all his best tunes on Volume 1 can relax.From the shimmering Disco of Starvue’s ‘Love Affair’, which opens up the album, right through to the uplifting last track, Wes Black’s ‘I Feel Good’, it’s clear we are in the hands of a master curator. Containing only original versions, literally thousands of pounds’ worth of rare records have been lovingly re-mastered to build this very special package.With the current disco and funk revival making headway into the charts, this compilation of authentic, original material could not be timelier. From dance-floor oriented disco monsters to more subtle boogie jams, the album takes the listener on a journey from the nightclub to the streets of 70’s and 80’s Black America, where the early experimental blueprint for hip hop and house can clearly be heard in so much of the music. A slice of history, but also a collection of tracks that still have so much mileage left in them, we invite you to dive once again into the magical world of Zaf’s Private Wax.
The Jamie xx - Loud Places 12" features remixes by John Talabot, Barnt, Tessela, and Matthew Herbert.
Couple Of Slices Red Apples 45's Couple Of Slices pairs the production of Ray West and the lyrics of the legendary Kool Keith. The original cover illustration by Greg Mac depicts a futuristic pizzeria set in outer space, a perfect setting for the wizard Kool Keith to serve up slices to hungry space travelers. Keith's wizardry intertwines with Ray West's melodies to create a mood of sarcastic romance at the same time setting rappers straight. Proudly recorded in the Bronx, all the writing and concepts were done together in the studio. Mixed with great detail by Phil Moffa at Butcha Sound NYC with features from AG of DITC, Cormega, 3rd Eye & Dyin Breed.
"Tap Water" is XL Middleton's first full-length LP in the modern funk mode. As with his previous single releases such as "Keep It Funkin" & "Press Play" (with Zackey Force Funk & Eddy Funkster), Middleton seeks to continue building on the links between 80's boogie funk & 90's g-funk, drawing heavily from both wells to create a fresh new sound that pays homage to its blueprints while continuing to progress and innovate at the same time. For the most part, the songs on "Tap Water" avoid the instrumental-only ethos of much of today's funk, instead opting for more traditional song structures, resulting in music with easily relatable content. Whether it's a love song ("I'm Ready"), a lust song ("Psychic"), speaking out on the disposable, trend-obsessed culture of the modern day ("Do Me Like That"), or simply declaring his funk dominance ("Bumpin'"), "Tap Water" is a well-rounded album designed to appeal to anyone from the most discerning funkologist to the more casual purveyor of all things on the one.
This new double A-side single, collectively titled The Box, is a meticulously recorded funky solo effort by Urian Hackney. Envelope-pushing sounds come natural to Urian as his father and uncles were members of cult Detroit proto-punk band Death, as profiled in the acclaimed documentary A Band Called Death. As noted in the film, Urian and his own brothers continued the legacy of Death by forming their own tribute to the band. This evolved into the band Rough Francis, self-described as “channeling live energy from ’60s garage rock, Motown, and ‘80s hardcore.“ With The Box – named after his studio in Burlington, Vermont – Urian Hackney presents two songs intended to send the listener back in time to the smooth, funky sonic realm of the ’70s. All instruments were played by Urian, multi-tracked one-by-one to a tape machine through microphones aimed at amplifier cones and drum heads. It comes together sounding like some rare 7” that might be found in DJ Shadow’s record bag. “Caramel” leads the single with its live dusty breakbeat, spacey synth flourishes, rumbling bass line, and funky wah-wah guitar. The combination is captivating, serving as a superlative dance floor moment or a soundtrack to accompany some cool struttin’. ”Red Circles"" follows, owing a bit more to the influence of Urian’s father's band with its frenzied drum rhythm and chunky guitar, complemented by subtle, melodic bells and some atmospheric embellishments. These tracks make a solid duo of tunes, fitting right into our catalog…a nod to the past while looking towards a funky future.
Started between Rennes and Paris in France, recorded in California, Berlin, NYC, Paris, Portland, mixed in San Diego, mastered in LA and Costa Rica. This project and J-Zen have traveled a lot to finish their trip in Managua where he stayed for a few months. This album features MED, Georgia Anne Muldrow, Declaime, Mr Complex, Pseudo Slang, Theory Hazit, Stro Elliot, Chuuwee, Revolutionary Rhythm. Managua: Nahuatl language – adjacent to the water
Born in the midst of a creative surge in the pop-leaning underground, Greek act Keep Shelly In Athens have been a force in the indie world for the last half decade, releasing projects on Cascine, Gorilla vs. Bear label arm Forest Family and British heavyweight Planet Mu. Now, the Athens-based duo arrive on Los Angeles outlet Friends of Friends with the ‘Now I’m Ready’ LP, their second official LP and their most emotionally mature, sonically adventurous effort to date.At eight songs and 45 minutes, the album strikes a concise, yet imposing figure, each individual effort comprised of enough peaks and valleys to bring the listener to the edge and back again. Lifted off by lead single “Fractals”, Now I’m Ready is not your typical indie effort, un-beholden to tempo and style, the album skips across genre tropes with ease, each track guided by producer RΠЯ’s singular aesthetic and vocalist Myrtha’s unmistakable crescendos.And whether you’re locked into a long road trip, careening around a city or looking over the Mediterranean, Keep Shelly In Athens bring an arresting pathos to the proceedings, felt everywhere from the breakbeat-led madness of “Hollow Man” to the ever-building, hypnotic vocal qualities of “Now I’m Ready”. It’s only the duo’s second official LP, but considering their release history on outlets as diverse as Cascine, Forest Family and Planet Mu, it’s no surprise that their arrival on Friends of Friends is such an unabated success.
After treating fans to a slew of Friday freestyles that spanned the entirety of Spring, Styles turns his attention to his forthcoming album. A Wise Guy And a Wise Guy will be released on October 9th and features a host of guest vocalists, including Chris Rivers, Dave East and Tyler Woods, and, of course, Sheek and Jada. The first single from the album is titled “My Party” and features ‘Kiss.' - AFH
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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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- Positive attitude - no task should be considered too small
- Must be located in the greater Los Angeles area
Resumes/Cover Letters should be emailed to firstname.lastname@example.org