Clear smoke vinyl, packaged in silver-ink foil jacket Bass assassin dream team Alix Perez and EPROM debut Shades, a commanding new EP on Alpha Pup Records. Fresh and dynamic, the four-track release tickles the limbic system with gravity-distorting bass and inspired hooks. “The Serpent” cuts a swathe through the dance floor, underpinned by an imperious, gritty bassline, replete with head-turning percussion cuts. The back-swung “Chiron"" cloaks a devious, neck-snapping riff in warped melodic deviations. Woozy percussion sits aloft an unsettled slab of electric bassweight on ""Minotaur"". And “Into Light” juxtaposes glory-era rave power chords and arpeggios against echoes of g-funk and hyphy - culminating in a tuned-up footwork flex-out. Vivid. Searing. Groundbreaking. Shades is a gripping release by two masters of their craft.
Astronautica launches the Gemini LP with Alpha Pup Records, piecing together 12 new tracks that bridge the gaps between sultry R&B, uptempo club rhythms and future electronica. Gemini is her sophomore album for the label and follows up on 2014’s Waikiki EP and her label debut from 2013, Replay Last Night. As one of Los Angeles' emerging talents in this era, Astronautica’s defining herself as a prominent and in-demand producer that can pull off intricate guitar harmonies and powerful vocal lines over fully composed song structures. With a tenacity for touring and recording through each year, Gemini is a shining moment in her already impressive career and it can be argued it’s her best work to date. Musically, the dynamic beauty of Gemini opens up immediately with the LP’s opening cut “*69,” giving listeners the full breadth of her style with each passing track. The emotional setting and messages change from piece to piece but it all comes together under one roof of smooth keys, organic drum work, warm bass lines and dynamic guitar blends. Lyrically and vocally, she connects listeners to the deep valley of experiences known as love and projects her vocals in a way she has yet to realize with previous records. You can feel every emotion as the words grab onto each layer with pure cohesion. Like her songwriting, Astronautica's live show continues to show new strengths, moving crowds at the Low End Theory Festival and many other avenues across the States. The Wall Street Journal had the following to say about Astronautica in their coverage of Low End Theory’s second annual music festival. “Astronautica spun warm, swaying electronica, then she picked up an electric guitar and added lush chords to the already-satisfying sound.” [Jim Fusilli, Wall Street Journal]. Gemini is Astronautica evolving to an even higher state of songwriting and will be a stand-out record of 2016.
Limited to 300. Alpha Pup Records is ecstatic to announce the signing of Crem’e to the family roster, scheduled to drop his debut full-length, Close Up, this fall. Hitting both vinyl and digital formats upon release, Close Up is a highly personalized vehicle of sound, created over the last few years as a response to the passing of his mother. An expression of deep roots and a chain of connections that shattered and spliced into millions of parts, Close Up was designed as a means of self-healing and emotional preservation. Crem’e summed up this transition in his life with the following, “It’s like getting rid of a scar and then feeling naked without it.” The musical language of Close Up jumps back and forth between a soulful balance of beauty and pain. Channeling the state of influences his family, friends and environments have afforded him growing up in LA. Many organic elements are seamlessly melded together, brought together through heavy usages of sampling, vocal layering and live recordings. Crem’e further added, “Hip Hop has always been my foundation so it was pretty seamless to create with samples even if it isn’t on the rap tip.” His connection to the community of Los Angeles reflects his foundations in both hip hop and electronica, taking an internship program with the acclaimed Stones Throw Records and becoming an integral member of the staff at Hi Fidelity Records. He’s constantly immersed in the music community he supported for so many years prior, living the life of a dedicated and passionate musician with everyday’s passing. Close Up represents bright moments that glide through mental gardens of sonic delight, molded into unique form in every measure, note and texture. Simply put, Close Up is music that represents the very essence of human connection and particularly the relationships Crem’e fostered over the last two decades. It’s a closer examination of how we transition and embody the themes of our tragedies and triumphs. Walking in the same footsteps as the talented producers who have generated the communities sprawling life through electronica and LA, Crem’e is a producer that strives to achieve beauty in every detail with his music. This detail was amplified with the mixing and mastering work of Alpha Pup label head and Low End co-founder Daddy Kev at Cosmic Zoo.
Download card includes vinyl exclusive Olof Melander remix of album track "Sand Dunes On Mars"Brimming with offbeat beauty, Elusive’s new album Textures features a unique electronic warmth that is created with an infinity of unusual sounds. Dissected vocals and the crackle of lo-fi static permeate the release with layers of soul, a showcase for Elusive’s artful, abundant and multi-layered approach to production. With over 20 releases in his collection since the ‘90s, Elusive has personified instrumental music culture in California for two decades now. Textures comes at a creative spurt in his career and has a breakthrough sound from beginning to end. Few producers in the beat movement can tap into complex rhythm structures and Elusive’s Textures LP goes deep into this territory over the course of the 16 tracks. Nod your head to the looping rhythm of the LP’s opening cut “Moonbeamz,” a hazy, shuffled track with a loose collection of sounds at the bottom of the beat. “Love Is Enough” skates under open skies, an elegant dream of simplicity. "Chants to the Stars” captures the moment an ancient earth tribe meets an alien visitor, and “Live Without U” demands attention with fast-paced drumming and a swarm of whispers. Every song has its own sub-world, connected through the diversity of his past works and the futuristic voyage he continues to embark on. Dreamy and dense, with plenty of juice and vigor – Textures is a thoughtfully intelligent venture into the far-out realm of the modern beat music movement.
Set sail onto a cartoon ocean on a quest to an imaginary world in Wide as the Moonlight, Warm as the Sun. A perfect fit for Daedelus’ label Magical Properties, the new album by Goodnight Cody (of Team Supreme) is an experience of powerful imagery and pure poetic whimsy. Synthesized vocals, colorful toy beats, and charmingly playful dreamscapes create a captivating story of adventure. Every track is like a different land – or level – with all the twists, turns, and emotions that define the hero’s journey: uncertainty, excitement, loneliness, romance, melancholy and victory. Pack your bags for “Travel Alone,” which flips from slow and ponderous to funky and frenetic and back again – infused throughout with stars, so shiny and bright. “Paper Boat” launches into easy pink waves, under a glowing green sky and butter moon. With a childlike sense of wonder, “I Met a Whale” sways side to side in the deep blue sea – inspiring kisses, songs and smiles. “A Walk Through the Trees” pauses in the fresh feel of new love, and “Almost Forgot” expands with rising energy into the sunset. Absorbing and pleasantly unreal, Wide as the Moonlight, Warm as the Sun is a sonic kaleidoscope that ignites the imagination and makes music into a game.
Alpha Pup Records presents Mù Chè Shān Chū by Howie Lee: an innovative producer, master sound curator, and ambassador from the Chinese musical underground. Born in Beijing where he lives now, Lee has lived in London, recorded in Taipei, and is now releasing his debut album on a Los Angeles label – truly a global phenomenon. After being hit up by Snoop Lion for a remix in 2012, Lee’s “future music from Downtown Beijing” busted out of China to captivate crowds with its thoroughly unique style. His distinct approach blends local samples, traditional Chinese sounds, and inventive modern rhythms. Tracks are drenched thickly in bass and imbued with the fresh feel of youth – and often, are right at home on the dance floor. Gripping from the very beginning, intro track “The Gate” invites you into the artist’s underground world and sets the tone for an expansive, epic journey. Syncopated beats strut through “Cloud Lamps,” and “Sinka (feat. Zhang Yang)” steps right into a thundercloud. “Bei Hai” is a riveting experiment with an alluring rhythm, a warm wash of sounds that pulls in unexpected directions. Mù Chè Shān Chū is always in motion. Impossibly dense and lush, yet also incredibly spacious and vast – a juxtaposition that reflects China itself. From the plucked strings of the guhzeng to the butter-rich bass of the 808, Lee brings an unmistakable Far East flavor to the leading edge of modern electronic music.
Dense with rhymes and intriguing beats, Jonwayne is Retired is fresh with purpose – an updated glimpse into the sound of the LA beatmaker and MC. Each track is an interactive playground of deep-cutting production and Jonwayne’s magnetic rap style. "Beacon" merges grainy, distorted sounds with thoughtful clarity and sharp vocals. Riddled with hooks and fire, "Minerals & Gems" feels light yet submerged. ""Dirty Dan"" is a movement-inducing flip that sways, while "Green Light (feat. Anderson Paak)" lines up the planets ahead of everyone. "30,000" closes the EP with curious synths, a minimal beat showcase that reveals Jonwayne at his low-key best. Mixed by Daddy Kev on his new SSL console at Cosmic Zoo and released via Alpha Pup Records, Jonwayne is Retired is arguably the best sounding Jonwayne record to date. Zone out with the flow, or pay attention and get inspired. Choose your adventure. Jonwayne is Retired.
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"With the clarity of a lucid dream, Milo’s new album So the Flies Don’t Come combines sharp spoken words and riveting beats into an irrefutable work of art. His music is expansively original, like a science experiment whose constants are poetry and philosophy. So the Flies Don’t Come features a crisp cast of guest artists: Myka 9, Elucid, Open Mike Eagle, and Hemlock Ernst a.k.a. Samuel T. Herring of Future Islands all bring their distinctive talents to the sonic table. Interesting breaks create a refreshing cadence in “Souvenir (feat. Hemlock Ernst),” a stroll through the park that playfully pauses in thought. Let your soul fly with “Zen Scientist (feat. Myka 9),” and tilt into the bright light as “Yomilo” wrenches down the beat. A breathless finale to the album, “Song About a Raygunn (An Ode to Driver)” sends off the listener with an undeniable burst of energy. Chill but aware, clever yet inviting – So the Flies Don’t Come is a skillful showcase for Milo’s articulate wit, expressive warmth, and gifted production.
Mystery Cave’s first full-length album debut on Psychic Fortitude, a newly minted in-house Alpha Pup Records imprint, and serves as the thesis of an already rich sonic palette John C. Harris II has refined through years of music production and promotion in the San Diego music community. As the proper primer to the Mystery Cave universe, the disjointed unraveling of tracks like “Ohm Loop II” and the oddly reflective “Chicken & Waffles” occasionally gives way to moodier, more introspective fare such as mid-album highlight “Smriti”. Across the wholly instrumental album, the selection of sonics mystically allude to the album’s namesake, a centuries-old calendar cycle that has its roots in Ancient Egypt. “If some electronic music sounds mechanistic by nature, Mystery Cave is among those who are moving in the opposite direction, using technology as best they can to get closer to natural and supernatural realms, and to better understand their own minds.” - Peter Holslin, passionweiss.com Welcome to the Ausarian Age.
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Prodigal Son represents a return to form for Los Angeles based producer Nobody, also known as (DJ) Nobody when he's behind the decks and Elvin Estela when he's at home. Making his name in the late 90's with sample-based instrumental beats heavy on moodiness and influenced by jazz, he quickly expanded his sound with experiments in psychedelia, bass heavy beat music and modern hip-hop. Following up 2013's Vivid Green, Nobody goes back to his roots and pillages unknown vinyl gems and re-assembles them into new forms for Prodigal Son. Four downtempo instrumentals rub shoulders with a pair of vocal tracks, featuring two the brightest in the LA hip-hop underground. Sahtyre expands on the idea that "Ain't Nothing Good Happen After Midnight" while Open Mike Eagle sums up the theme of the album with the closer "Feel At Home". The feel and atmosphere of Prodigal Son is not very far from his 2000 debut Soulmates, which is a source of inspiration for this EP. Always a fan favorite, Nobody hopes to give his supporters the tracks that they've wanted all these years, while making new ones with a classic and timeless sound.
Low End Theory resident & veteran Los Angeles DJ Nobody creates the crucially timed full-length Vivid Green via Alpha Pup Records. Embracing the flux within LA underground musical movements of the last fifteen years, Elvin Estela has been on the studio grind while touring internationally refining chops in bass heavy beats, electronic bangers and psychedelic rock. Since debuting with one of Los Angeles' first instrumental hip-hop full lengths with 2000's Soulmates, Estela has gone on to remain relevant within the shape-shifting scenes of LA's multicultural artistic climate. Nobody utilizes the same signature mood, melody, and diversity that identified him in 2000, but with an unmistakable modern upgrade - no doubt influenced by Low End Theory, the club he co-founded in 2006. Vivid Green is expanding on the repertoire that has kept Nobody standing as a strong symbol for open ears. Vivid Green is strongly instrumental, but boasts the vocal collaborations of The Mars Volta's Cedric Bixler-Zavala, electronic songwriter Baths, laid-back SoCal rapper Nocando, freak-soul Kendrick Lamar collaborator Anna Wise (Sonnymoon), and Teri Gender Bender of Les Butcherettes/Bosnian Rainbows.
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Reissue of Nosaj Thing's seminal, long out-of-print instrumental hip-hop classic Drift. Already receiving Artist-to-Watch accolades from XLR8R and the BBC, remixing Daedelus and Flying Lotus, and winning L.A.’s prestigious Project Blowed beat battle, L.A.’s Nosaj Thing authors the unrelenting next chapter in producer-based records that continue to up the ante. His electronic soundscapes and wild beat tectonics hit the mind and soul as they juxtapose thick, dripping electronics with sultry hip hop undertones and thought provoking ambient space.
Pyramid Vritra presents the next generation of hip hop with Dãnu (NRK / The Order Label, via Alpha Pup Records). Former half of Odd Future duo The Jet Age of Tomorrow and a member of the up-and-coming NRK collective, the rapper and producer is an inventive storyteller whose sound ignites the brain. Like the artist’s namesake god, the album manifests itself into many incarnations. Lyrics are effortlessly fluid and tracks change directions quickly, flipping from one personality to another without pause. Title track “Dãnu” edges the album open, slowly warming from its leisurely beginning and sidling into a stone-skipping jam. “58 (Heavy)” evolves with exquisite musical form, riveted by an unexpected cadence that dips just low enough to scoop up the wayward contemplation. Starting with a simple combination of clean rap and smooth beats, “Leather” plunges into polychromatic sound. Bursts of sunlight beam through as the track sways and mutates. “Parcel” is the work of a hypnotist – a beyond-heady brew filled with the thickest smoke; an exotic den of serpentine arms that beckons you come hither. Sample-free and crafted with cohesive design, Dãnu is an experiment created with the free-floating forms of the mind.
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Plain Speaking is the lucid new release by Scallops Hotel, the candid alter ego of Chicago poet and producer Milo. A robust introduction for his new label imprint Ruby Yacht, the album blends experimental production and endearing beats with open, honest rhymes. Plain Speaking is profound yet accessible, a solid handhold to grasp onto amidst the chaos of the modern world. Easy yet serious, lighthearted and sincere, Plain Speaking immediately draws the listener inward. The album's first single ""Lavender Chunk” -- featuring Hemlock Ernst a.k.a. Samuel T. Herring of Future Islands -- leans back into a simpler time, remembered like a hazy dream. Slanting darker and submerged inside echoes, “Tense Present” flips from contemplative flow into a stream of comforting clarity. “True Nen” is a thoughtful track that breathes deeply, an offering of assurance over discord. Plain Speaking is a remedy, the cure for the common conversation. The familial tones and straightforward flow of Scallops Hotel function like an outstretched hand. Plain Speaking never pushes; rather it invites you to sit and listen. To have hope, and to heal through art.
First edition pressing of the sophomore Sister Crayon album via Alpha Pup Records, co-produced by Omar Rodriguez-Lopez and Wes Jones.Devoted is very much an album formed through loss. It is a juxtaposition of mourning that loss, challenging the loss of love, and understanding that love was never yours to begin with. It jumps from being cynical towards love to being wholly reflective and contemplative. Despite the melancholy nature of the subject, this album rarely touches sadness. Oakland duo Terra Lopez and Dani Fernandez have been performing as Sister Crayon, trying to qualify relationships, friendships, tour life and home life. In the spring of 2014, in a studio in Florida with co-producers Omar Rodriguez-Lopez and Wes Jones, all of the questions and drama turned itself over through the creation of Devoted. More than anything else, Devoted is concentrated anger and frustration. The heavy beats and forward, aggressive nature in which the vocals are presented in every song set a much more revealing tone than heard in previous work. Vocals often border a juxtaposition between the female, male, and the “other” - and the album features three tracks co-written by Omar Rodriguez-Lopez: “Into Solemn Hymns,” “Night Totem,” and “Providence.” In Devoted, the artists have taken a fully primal approach that focuses heavily on the electronic elements and voice. Lopez and Fernandez clung to these songs when there was nothing left. Devoted was written in order to restore faith in the act of devotion
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.
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Limited edition of 300 units worldwide. Includes lyric sheet. "Jazz is supposedly a grown folks’ genre, played by aging bohemians in tiny clubs. Tell that to the Breathing Effect—a self-described electronic group influenced by soul, rock and jazz—whose debut album, Mars Is a Very Bad Place for Love, toes a line between traditional and turn up. As a unit, producer/keyboardist Eli Goss and drummer/bassist Harry Terrell merge the standards of conventional jazz with modern bounce beats. By definition, it scans as "jazz fusion," but the results conjure '70s R&B as well as the contemporary Los Angeles beat scene and hip-hop. Clearly, Goss and Terrell study Pink Floyd and the Soft Machine, but it seems they dig Thundercat and Stevie Wonder, too. The genesis of the Breathing Effect can be traced to its fascinating 2014 EP, on which Goss and Terrell spread aquatic rhythms over five tracks. From "Layers of Thought" to "Losing My Mind", the resulting mixture was equally soothing and mesmerizing; the EP as a whole worked just as well under clear or gray skies. Mars is more upbeat than its predecessor, though the opening tunes—"Forestial Things" and "Cloudy Afternoon"—continue the EP’s mellow ambience. Yet by the third song, the two-tiered "Cold Meteor Showers", Goss and Terrell hit a stride. In a way, Mars plays like musical theater: It’s driven by space travel, and follows the story of two lovers cruising the galaxy with no concept of time. Tracks like "One for the Mountains By the Sea" and "Twenty Years Altogether" recall spacious isolation, of couples escaping life’s hustle to be alone with each other. It’s a notion evoked on album standout, "Weightless Reality", where Goss, Terrell and guest vocalist Kalia Vandever sing of a fantasy world of waterfalls and underwater utopia. Whether or not they’re depicting planet Mars is anyone’s guess. Still, the music conveys a very real narrative while using few words, which is usually a tough task for most instrumental albums. The vocals, sparing as they are, come from Goss, Terrell, Vandever and Michael Mayo, who tend to float along the periphery of the music, underlining the instrumentals. On "Streetlights Out of Focus", Mayo drifts softly, his wails a breezy compliment to Goss and Terrell’s composition. And of all the great things happening here—the Isley Brothers vibe on "Fireflies", the dense layers of "Visions"—you can actually feel the melodies, which remain at the forefront even though the music drifts in all directions. The blend seeps into the background if you let it, but dominates your attention in headphones, played loudly. "Rising Inside"—the LP’s best song and one of the group’s finest to date—uses swift percussion, bright synths and a Vocoder, working up a loud bounce that would fit comfortably within rap circles and jazz crowds, two sects that couldn’t be farther apart these days. It’s a grand culmination for the Breathing Effect: experimental jazz with the potential for huge resonance." -Marcus J Moore, pitchfork.com
Saturated with a dark romanticism and a deep sense of melancholy, Sightless, Unless is the encompassing new release by Los Angeles producer, vocalist and multi-instrumentalist Toy Light. The artist’s vaporous falsetto free-floats over an impetuous low end throughout the album, shimmering pale with passion as a moody guitar searches for solace. Newborn tracks evolve from elegant simplicity into complex emotional beings, molten mutations of discord and experimentation. “Birth Archive” soothes as it stimulates, luring the listener into the dissonance with unbridled design. “Entwined” is apprehensive yet approachable, and unspeakable anguish inhabits “Hiss of the Womb.” Impossibly light and intensely moving, “Aporia” slips through viscous echoes into a spellbound state. “At Dusk / New Sun” faces you like fate, pensive and shadowed, decaying in order to transform. Lacerated with emotion, Sightless, Unless goes far beyond words to touch the truths of humanity whose unending glare we try desperately to avoid. It is an expression of exquisite existential pain and disturbing beauty, created by an artist whose intricate talent has marked a new space in the post-genre sphere.
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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.
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