LP version in deluxe silver foil sleeve. Limited edition of 499. Includes poster. The long-awaited debut album from Hashish. Top-class psychedelia, taking the genre to a new level with a sophisticated approach to Afro-funk grooves accompanied by dreamy, playful melodies that range through a spectrum of Scandinavian occult psychedelia, minimal synth, surreal electronic soul disco, and rare groove. Some have described Hashish as a project that picks up what Goat started. Welcome to tomorrow. The sounds transport the listener into a forgotten world where the future looks different from what it became. On his soft, subtle island capped with clouds of cool fire, Pan weaves his teachings with the wind and the sun, raining sacred melodies on the hearts and minds of humanity and bestowing desperate loves and yearnings with songs of sainthood and madness. Transient temples of the flesh, laughing at death, clothe our lives in fire. On rippling altars of skin we sensual magicians worship bright burning desire. Upon release the album sky rocketed straight into #1 on the official Swedish vinyl chart.
If you were going to envision the ultimate avant-garde meeting-of-the-minds jam session, who would you pick? Even the most hopeful fan of strange and innovative music couldn't have seen this one coming: on one afternoon in 1986, at Coney Island's dilapidated freak show, space-age avant-jazz genius Sun Ra met avant-garde "serious music" composer John Cage in an unforgettable performance. You couldn't imagine two figures more opposite. Cage was known for his unusual approach to composition, using objects such as radios and television sets, as well as pure silence, as instruments, often encouraging his musicians to do other things at their whim on stage. Sun Ra, on the other hand, was a jazz arranger known for his "space-age" approach to jazz, adding free-jazz and surrealist elements into a musical form that Cage often disdained -- improvisational music. And yet, for one afternoon, they pooled their talents -- Ra playing keyboards, leading his small group and reading his unusual poetry; Cage "performing" vocal readings and passages of vocal sound -- plus his trademark silence -- designed to baffle and disorient. The combination is breathtaking, both organic and mechanical, free-form and totally composed. For the very first time, Modern Harmonic presents the full and unexpurgated concert from 1986, stretched out across two LPs. In addition to never-before-heard songs and musical passages, this album at last presents the long-rumored co-performance between the two musical giants, all lovingly packaged in new artwork that captures the stark brilliance of the music. Take yourself back to 1986 and a once-in-a-lifetime performance that you can finally hear as it was intended
Few things are more ugly or heroic than telling the truth. Life is often bleak, brutal, and over all too swiftly. Leaders are corrupt. Job prospects are limited. Cigarettes and shots of gin rarely lead to a peaceful finish. But between the lunacy and squalor, there exists those who make it all worthwhile: family, friends, and ruthlessly honest artists who remind you that you aren’t alone, shedding light on those dark nights of the soul. As Michigan’s anti-Surgeon General, Red Pill quips: “We may not be the heroes this world needs, we're definitely not the heroes this world wants, but at least we're here.” His partners in Ugly Heroes are Chicago MC Verbal Kent, and Detroit producer Apollo Brown. Their sophomore Mello Music Group release, Everything In Between, offers diamonds of wisdom amidst the existential dumpster fire. It’s been said that if you go down deep enough, past the personal, you eventually reach the universal. Ugly Heroes embody that axiom, unraveling their own stories, self-doubts, and bouts with depression to arrive at something as profound as it is vulnerable. Apollo Brown warps soul music and bayonet-hard drums, creating a singular form of soul-coughing dirty-sky symphonies. Levitating boom-bap for the 21st Century. “Have you ever figured what you’d be like in a few years…why don’t you look ahead” A cinematic voice opens up “Today, Right Now,” with these words, doubling as a manifesto for things to come. Just as quickly, a voice retorts, “ah, don’t preach at me…as if you can tell what you’ll be like in a few years.” The back-and-forth distills the questions at the core of the record: What will my future look like? How can I repair myself? What gives my life meaning? What do we do in a world where the right answers are frequently hidden and the wrong answers are all too obvious? Red Pill, Verbal Kent, and Apollo Brown refuse to offer simple solutions, but instead created a life-affirming record with a dark undercurrent. Red Pill calls us “rational cattle” one moment, but half-jokingly insists on the importance of “grabbing the bull by its arms” in the next. They’re artists and brothers and fathers grappling with the impossible: how to extend the good moments indefinitely, how to eradicate the bad ones to protect themselves and the ones they love. They might harbor the suspicion that the past, present, and future might all be the same, but they understand that acts of heroism are often found in minor gestures. In a frivolous world, Ugly Heroes prove that talent will always reign supreme and honesty can never become obsolete. All Songs Produced by Apollo Brown
Professional Sunflow is the first-time collaboration between Laraaji & Sun Araw, two colossal forces in contemporary electronic music. Laraaji's musical radiance has continued to shine brightly over four decades since being discovered by Brian Eno in New York's Washington Square Park in 1979. Sun Araw emerged out of Los Angeles' experimental scene in 2008 with transformative releases on a variety of trend-setting labels (Not Not Fun, Drag City and more). The live performances on this double LP - recorded in Germany and Switzerland - combine prewritten elements and improvisation. Laraaji's soulful vocals and signature instrument, zither, blend beautifully with the free-floating rhythms of Sun Araw's Cameron Stallone's (guitar / keyboards) and Alex Gray (computer synthesis) to shape Professional Sunflow's unique sound: dreamy layers of percussion, ambient textures and vibrant melodies. W.25TH is proud to present Professional Sunflow as our inaugural release. As a sub-label of Superior Viaduct, W.25TH will focus on inventive sounds from current artists.
The final album in the Melvins' major label span, Stag finds the band fully spreading their wings (and budget) to create what is arguably their most wide-ranging and diverse album among the nearly two-dozen full-length studio albums the band has released since 1987.
The stellar seventh studio album by the Melvins is one of the most cohesive and beloved in the band's catalog. With fan favorites like ''Revolve'' and ''Queen'' balanced with the impressive sound explorations of ''Lividity'' and ''Shevil,'' the result is one of the most praised albums of the band's 30+ year career. Mastered from original analog tapes, this is the albums first time on vinyl since 1994.
Signed to Atlantic Records in the hubbub after Nirvana's Nevermind exploded, the Melvins' fifth album Houdini was a conscious attempt by the band to make a record that wouldn't alienate their fans but that the band members themselves would also enjoy. Their best-selling release by a country-mile, this album crested at number 29 on on the Billboard Heatseekers chart. Houdini would be most folks introduction to the band and songs like ''Honeybucket'' received MTV airplay. Mastered directly from analog tapes, this is the album's first time on vinyl since 1993, which includes six tracks produced by Kurt Cobain and a vinyl-only bonus track.
Lavashark’s debut offering comes with their reinvisioning of two Rock classics; Bruce Springsteen’s “State Trooper” and “Susie Q” made famous by Creedence Clearwater Revival. Anchored by their use of vintage analogue synths, and drum machines the pulsating electronic soundscape they create is tempered by Theo De Gunzburg’s moody haunting vocals. Brighton UK producer Antenna Happy lends his hand to a more driving and dance-floor friendly remix and dub version of “State Trooper”. Channeling a live analogue sound that borrows from the Illinois blues of Muddy Waters, as much as it does to the maverick electronica of Aphex Twin. At the heart of the group lies their live performance, a place where raw synth lines and brooding vocals form a safe haven away from the digital age. An LA based trio comprised of Theo De Gunzburg, Matthew O’Malley and John Barnes, the group were drawn together by a shared affection for David Attenborough. Working out of a converted garage in Venice, Lavashark craft a nomadic sound that when played live, forcefully raises you to your feet and questions whether this is old or very new.
Patashnik was originally released by R&S Records/Apollo in 1994. It was number 1 in NME's Independent Chart in March 1994 and reached number 50 in the UK official album chart. The track "Novelty Waves" was used in Michel Gondry's Levi's 501 Jeans "Drugstore" spot, and holds, according to the Guinness World Records 2004, the record for "Most awards won by a TV commercial". "One reason why Jenssen's work stands out from the flood of early '90s ambient/techno releases is his strong sense of the quirkily creepy - not in an Aphex Twin mode, but in his own particular way. The contrasting samples of a child quaveringly saying, 'We had a dream last night,' followed by a rougher sample saying, 'We had the same dream,' gives opening number 'Phantasm' an unsettling feeling. Intensified by the, on the one hand, pretty, on the other, disturbing music, buried synth strings and a soft pulse accentuated by clattering noises deep in the mix, it kicks off the striking Patashnik very well. Though not as openly dark as acts like Lull, for instance, Biosphere still has an edge which isn't just melancholic, it's downright ominous at point. There's the slow crawl of 'Startoucher', for instance, with its buried vocal snippets and deep bass drone, or the blend of the space signal atmospheres of 'Mir' into the low, brooding intro to 'The Shield.' Not everything is so shadowy, though; Patashnik is primarily a relax-and-chill listening experience, but not without its gentle high points. 'Novelty Waves', which became a crossover single in some quarters, has a good dancefloor sharpness to it even as Jenssen slyly sneaks in odd drones and samples through the mix. The opening snippet talking about an extraterrestrial disc jockey on 'Seti Project' is good for a smile, as well as acting as a sharp lead-in to a fast rhythm track. Mostly, though, things continue on a deliciously unnerving pace throughout, gentle enough to go down easy but still just off enough to ensure you can't call this new age folderol for the rave generation." - Ned Raggett - AllMusic
The 4th album from George Clinton's funk/psych/rock outfit, originally released in 1972, is a double LP of epic proportions. Deep and heavy grooves propelled by the always amazing guitar, bass and keyboard work of Eddie Hazel, William "Bootsy" Collins, and Bernie Worrell, respectively. Equally sleazy, political, heartfelt, and just plain bizarre, America Eats Its Young was, and remains, one of the few double albums of the 1970s that warranted every single minute of wax. Reissued on one red LP and one green LP in a deluxe tip-on gatefold jacket.
With their debut album "55" taking the vinyl world by storm, we wanted to give fans another 7 they couldn't leave home without. Their cover of The Chakacha's classic, "Jungle Fever" has been burning up dancefloors since it's first pressing on Plane Jane Records. BRSB puts the punch in the drums and the one drop in the arrangements, taking the original tune and updating it into something DJs and their audiences are going crazy for. "Tender Trap", the flip side, starts out with a syncopated intro that will catch the ear of any hip hop fan for a number of reasons, then the tune turns into an all out funk burner, steel pans and guitars taking turns over the driving drums. Another BRSB sureshot.
PayJay Productions, Inc. was the company James Dewitt “J Dilla” Yancey founded in 2001 to house his production company and his publishing company. The Estate of James Yancey has revived PayJay as a functioning imprint, and announced the release of J Dilla’s long lost vocal album, The Diary. The tracks come straight from multi-track masters found on 2-inch tape shortly after Dilla’s passing in 2006. Many were mixed by Dilla himself. Those that weren't have been mixed by engineer Dave Cooley, who worked extensively with Dilla during his years in Los Angeles. Using Dilla’s original demo mixes as his guide, Cooley attempted to finalize Dilla’s vision for these tracks, while keeping all of the elements that Dilla had in place in his original demos present. The Diary is an album of vocal performances recorded between in the early 2000s over production by the likes of Madlib, Pete Rock, Nottz, House Shoes, Karriem Riggins and others. The Record Store Day vinyl issue of The Diary includes a special 7” pressing of The Ex that will only be found on the RSD issue of the LP.
Two new versions of Marvin Gaye's ''What's Going On'' featured on a four-track, 10-inch vinyl EP. The 10-inch contains a new duet version featuring Marvin Gaye and Motown artist BJ The Chicago Kid as well as an unplugged ''Coffeehouse'' mix of the original Marvin Gaye version, using bare parts, particularly a formerly buried acoustic guitar, from the original session. The top side of the 10-inch includes the original mono single versions of ''What's Going On.''
The Iceberg/Freedom of Speech... Just Watch What You Say! is the third studio album by infamous rapper Ice-T, released in 1989. The album has an uncharacteristically gritty sound, featuring some of the darkest musical tracks that Ice-T ever released. The album was released after Ice-T was encountering censorship problems on tour. The album's cover, featuring a B-boy with a shotgun shoved in his mouth, and two pistols pressed against each side of his head, reflected Ice-T's experiences with the concept of freedom of speech. This album is arguably the closest hip-hop has come to George Orwell's 1984. Instead of focusing heavily on gangsta rap, Ice-T made First Amendment issues the album's dominant theme. Setting the album's tone is the opener, ''Shut Up, Be Happy,'' featuring Dead Kennedy's Jello Biafra. There are a few examples of first rate gangsta rap here - including ''The Hunted Child'' and the chilling ''Peel Their Caps Back'' as well as some humoristic raps on ''My Word Is Bond'' and ''The Girl Tried to Kill Me''.
25th anniversary album! First pressing of 750 numbered copies on yellow vinyl. Includes 4 bonus tracks & a 4 page booklet. ex:el is the third studio album by 808 State, released in 1991. In contrast to the band's previous works, the album features heavier beats and percussion, embracing earlier flirtations with hip-hop and industrial music. The album also features the guest vocals of Bernard Sumner of Joy Division and New Order fame, who sings on ''Spanish Heart''. In addition, Bjork sings on ''Qmart'' and ''Ooops'' and is credited with co-writing the two songs, establishing a partnership with 808 State's Graham Massey that would result in his working on many of her solo projects. Add to all this two of the best techno singles from the early '90s,''In Yer Face,'' a subtly politicized anti-American slammer, and the almighty ''Cubik''; and ex:el stands out all the more strongly. A true masterpiece. ''ex:el is 808 State at play, The soundtrack to a party, with all the moments of elation, exhaustion and regret.''- Record Mirror
Seven Davis Jr. has firmly established himself as one of the foremost purveyors of future sounds having released his unique music on forward thinking labels such as Kutmah’s “Izwid”, Funkineven’s Apron Records and Ninja Tune. For “Future Society” Seven has curated a collection of his favourite new, unsung and like-minded progressive thinking artists to highlight the talent he has encountered on his travels, (the album features artists from New Zealand, U.S.A., U.K. & Switzerland). Consisting of mostly exclusive unreleased tracks, this collection contains electronic, soul and house tracks with a pioneering spirit from Clark & The Community, Colm K, Perlair feat. Sharka, Cervo, Ügly Disco, OCnotes, Cave Circles, Jonna & Samwell feat. Eric Rico, I’ CED & Sassy Black - Welcome to the Future Society.
In 1984, Adrian met three American musicians who would have a pivotal effect on the future direction his music would take. Collaborating with former Sugarhill Gang members Doug Wimbish, Skip McDonald and Keith LeBlanc resulted in some brilliantly unclassifiable beats-and-sample laden records as Tackhead, with various weird and wonderful off-shoots exploring different permutations of their blueprint. The new sound they developed caught the ear of artists from the industrial scene, resulting in work with the likes of Cabaret Voltaire, Einstürzende Neubauten and Nine Inch Nails. Sherwood also continued to get invitations to put his distinct sonic fingerprint on an eclectic range of music, from African hypno-chant to strange post-punk soundworlds. In 1986 Adrian finally met one of his heroes and key influences: Lee ‘Scratch’ Perry. As well as helping to revive the recording career of the Jamaican legend, it reignited his own passion for dub, represented here by some killer unreleased versions from the On-U vaults. This is the follow-up to the much-loved first volume that compiled 79 – 84 productions and remixes by the legendary Adrian Sherwood; this second installment charts a path through electro, industrial, noise, hip-hop, afrobeat and dub. It includes 5 completely unreleased tracks, and 4 that have never been heard since their original vinyl release along with extensive sleevenotes that tell the story of each track alongside archival photos, label scans and more.
2 Years after the release of their critically acclaimed album Death Drive, Sole & DJ Pain 1 announce the follow-up album, “Nihilismo.” This album embodies the overlap of their music with the world of activism and journalism. Nihilismo is a revolutionary hip-hop album that challenges the nihilism of modern life, of late stage capitalism and of a world that seems to have no future. It is a DIY testament to how both artists have plotted a way out of that despair through DIY ethics and a life of making working class, yet revolutionary music. To be released on collaboration with Fake Four Inc. & Alpha Pup. The winning collaboration between indy rap iconoclast and platinum producer DJ Pain 1 has resulted in truly original music that has been heralded by industry standard bearers like 2DopeBoyz and Spin, as well as popular radical media platforms such as Russia Today and Truthout. Featuring contributions from punk rock icon Chris Hanna of Propagandhi, anarchist author Scott Crow, Decomposure, Fake Four label head Ceschi, Jah Boogie, Church Fire and The Delta Mirror, "Nihilismo" pushes the boundaries of the genre. The album also includes the title track for the upcoming documentary on Drone whistleblowers, "National Bird," which recently premiered at the Berlin Film Festival to rave reviews.
The theory of technological singularity – the notion that humans and computer technology will increasingly blend together - has been explored in many forms of popular culture since it’s conception. Over the past two decades, there has been a larger movement to integrate electronic artists and jazz musicians, often leaving the former as more of a sonic addendum (floating over the music) rather than an integrated part of the ensemble. Tasked with exploring a deeper synthesis of electronic and acoustic players, instrumental quintet Kneebody’s collaboration with electronic musician Daedelus in turn creates a true union of these disparate approaches to music and genre as a whole. The collaboration between Kneebody – keyboardist Adam Benjamin, trumpeter Shane Endsley, electric bassist Kaveh Rastegar, saxophonist Ben Wendel and drummer Nate Wood - and Daedelus had its initial roots planted as far back as high school for old friends Wendel and Alfred Darlington (aka Daedelus). “Often when I lived in LA, I would go to practice saxophone at Alfred’s house in the bathroom next to his studio. He would knock on the bathroom door and say ‘Would you mind playing something on this track?’,” recalls Wendel. “So I ended up being on at least five or six of Alfred’s albums because I happened to be there practicing.“The pair’s early musical kinship in southern California seeded a connection that grew through numerous collaborations, recordings and live performances over the years, coming to fruition in an improvised performance in 2009 at “Jazz A Vienne” between their two primary music vehicles. When Wendel was awarded a composition grant through Chamber Music America based on the theory of technological singularity, it became a catalyst to write a series of pieces that would bridge the gap between the oft-indescribable world of Kneebody and the unique aesthetic of Daedelus.When the quintet entered the studio with Darlington, the other members brought more compositions to the fore. “Ben approached me about trying to realize some of this music that was maybe different from the Kneebody spectacular – where they are always so through composed – and do something that was more intimate,” reflects Darlington. The result is a nine-song set of original music that sits inside the rich pantheon of instrumental music, but with a modern sheen that takes the shape of a multi-headed beast straddling rock, jazz, and electronic music.
DJ Shadow, widely acknowledged as a crucial figure in the development of experimental, instrumental hip-hop, will return with ‘The Mountain Will Fall’ worldwide via Mass Appeal Records, his first full length release since 2011. The 12-track album finds DJ Shadow exploring new realms in addition to the deep samples and kinetic soundscapes that helped to launch his career 20 years ago. On ‘The Mountain Will Fall’ he’s shifted further toward original composition, a vast experimentation of beats and textures, synthesizers and live instruments including horns and woodwinds. The album features Run The Jewels, Nils Frahm, Matthew Halsall, Ernie Fresh and more.
Recalibrations Vol. 1 is a new 4 track EP (10 inch) featuring new versions and remixes of Hiatus Kaiyote's songs, including an acoustic take of their Grammy nominated track "Nakamarra"' from Tawk Tomahawk, an alternate version of "Prince Minikid", a Vikter Duplaix remix of "By Fire", and a Taylor McFerrin (Brainfeeder) remix of "Laputa" featuring vocalist Anderson .Paak. The latter three songs are all from their latest album Choose Your Weapon.
Sub Pop proudly presents Chutes Too Narrow, the second album by The Shins, on cassette for the first time ever. Chutes Too Narrow originally came out in 2003, and its other formats have sold a cumulative total of over 570,000. Here’s what we had to say about Chutes Too Narrow back in 2003: The Shins’ debut full-length, 2001’s Oh, Inverted World, was a stunner; resoundingly well-received and landing itself on numerous year-end best-of-lists. MOJO placed it at #14 of the year and commented, “This quartet from Albuquerque, New Mexico captured our hearts this summer with their pristine pop perfection.” And, Seattle’s The Stranger went even further, calling it “a referential, brilliant record which had better blow up, or the world has forgotten what pop music is all about.” As far as we’re concerned it did blow up – seems there’s still some hope for the world and its conception of pop music. Since that first record, singer/songwriter/guitarist James Mercer and drummer Jesse Sandoval moved from Albuquerque to Portland, OR, and bassist Neal Langford was replaced with Dave Hernandez (ex-Scared Of Chaka), who played bass on the stand-out track from the first record, “New Slang.” Chutes Too Narrow, their heavily anticipated follow-up, was recorded in James’ basement home studio, with later mixing assistance from Phil Ek (Built to Spill, Modest Mouse, David Cross, Les Savy Fav, etc.). And, with 10 songs, clocking in at just over 30 minutes, the new record is a brief yet entirely scintillating glimpse at chiming, reflective, and perfectly skewed pop innovation.
Sub Pop proudly presents Oh, Inverted World, the debut album by hit-makers The Shins, on cassette for the first time ever. We expect this hot new format to significantly increase the album’s sales total, which is currently over 720,000. Here’s what we had to say about the record in 2001, when it first came out: Hailing from Albuquerque, NM, The Shins sprung from the ashes of Flake/Flake Music in 1997 (though those previous incarnations date back nearly a decade) – same members, different instruments, different approach. Counterpoint guitars have given way to a single guitar pitted against calculated keyboard passages; swarming indie rock machinations led to pop-based melodic endeavors (who knew?).
The Shins’ third album, Wincing the Night Away, finally makes its debut on the much-lauded cassette format. Wincing the Night Away was released in 2007 on vinyl, compact disc, and internet mp3 formats, and has since sold a whopping 692,000 (as of 4/11/2016). What did we say of Wincing the Night Away back in 2007, you ask? Here ‘tis: To play music for a long time, you have to surprise the people that love you—while also surprising yourself. Recorded in singer/guitarist James Mercer’s basement studio, Phil Ek’s Seattle digs, and in Oregon City with veteran producer Joe Chiccarelli (Beck, U2), Wincing the Night Away is The Shins’ third full-length album. It’s also the sound of a band growing up and out. Mercer’s infectious, indelible melodic style is still at the core, and unfaltering. But anything can happen around it—and in this case, it does. While the vocals channel the spirit of Morrissey, “Sea Legs” pairs a loping hip-hop beat with lush melody and searing guitars. Elsewhere the band toys with tweaked-out, liquid piano steeped in kaleidoscopic strings (“Red Rabbit”); fractured synth samples (“Spilt Needles”); gauzy, arpeggiated keyboards cloaking thunderous anthems (“Sleeping Lessons”); and, taking cues from early Jesus and Mary Chain albums, sweeping, fuzz-toned epics (“Phantom Limb”). Finally, “Turn on Me,” “Girl Sailor” and “Australia” are the lilting, thrilling, rollicking, rock-solid pop songs we’ve all come to covet from The Shins. Consider yourself surprised.
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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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