THE TWO CLASSIC BURIAL ALBUMS ARE BEING RE-PRESSED ON 180G DOUBLE VINYL AND, FOR THE FIRST TIME, UPDATED TO INCLUDE THE BEATLESS ATMOSPHERIC TRACKS THAT UP UNTIL NOW HAVE ONLY BEEN AVAILABLE ON THE CD VERSIONS. THESE NEW PRESSINGS ALSO COME WITH UNIQUE CODES FOR FREE DOWNLOAD. PLEASE NOTE - THESE ARE NOT RE-ISSUES, THERE’S NO NEW MUSIC, NOTHING REMASTERED - JUST REVISED, IMPROVED AND BACK IN PRINT. SORRY IT TOOK SO LONG.Vinyl LP pressing of the 2007 sophomore release from the UK's mysterious and much-acclaimed Burial. Of all the artists past and present who claim to let their music do their talking for them, Untrue, is a record of weird Soul music, which lovingly processes spectral female voices into vaporized R&B and smudged two-step garage. Vocal lines are blurred, smeared, pitched up pitched down and pitch bent until their content is cast adrift from their original context and they whisper their saccharin sweet nothings into the void. Forget central heating -- the radioactivity of this album is all that you'll need to keep you warm this winter.
It's a bird! It's a plane! It's CZARFACE & MF DOOM! Who better to team-up with the boom-bap hero de jour CZARFACE, but the super-villain himself...the masked man known as MF DOOM! "Ka-Bang!" accomplishes just that, and is taken from the bestselling 'Every Hero Needs A Villain', the sophomore album from CZARFACE, the collaborative stylings of Wu Tang Clan's Inspectah Deck and indy rap vets 7L & Esoteric. On it, the three MCs assemble for some clobberin' time over a hypnotically sparse and bass heavy track from DJ 7L. The picture disc 10" also contains the lyrical krypton of "Deviatin' Septums" (only available digitally until now), plus the mighty "Ka-Bang! (Suckface's Swine Mix)", which is exclusive to this release! The B-Side features Instrumental versions to all three tracks. All of it is pressed on high quality 10" picture disc vinyl featuring the amazing comic-book-inspired art work of L'Amour Supreme of Mishka NYC fame. Side A depicts CZARFACE tangling with MF DOOM, and Side B has CZARFACE exposing his inner workings. With great power comes great responsibility! CZARFACE embraces that head on, and crusades against wack MCs across the universe!
Built on Glass is the highly anticipated follow up to Australian musician Chet Faker’s gold-selling debut 2012 EP Thinking in Textures. Built on Glass was recorded and produced by Chet himself over a two-year period and melds his effortless R&B vocals and pop melodies with a youth spent making house, disco and intricate beats. “I recorded the album at my home studio. I rent a small converted cooling room in the heritage listed North Melbourne meat market. Honesty is a big part of the record. I recorded with easily affordable equipment, the budget was tiny. It’s the first time I’ve ever worked on a full length and I felt like hi-fidelity wasn’t something to strive for working in a room on my own. Lyrically, I wanted to explore how my life directly affected my music – that’s the glass, I guess." Chet has had a dream run since the release of Thinking in Textures in 2012: sell-out shows across Australia, the US, UK and Europe; festival slots including the Laneway Festival, Splendour, Falls and Field Day; media support the world over (including Radio 1’s Zane Lowe and Huw Stephens, Pitchfork, Prefix Mag and Filter); deals with influential labels Downtown Records (US), PIAS and Chess Club (UK); and a series of heralded collaborations with Say Lou Lou, Kilo Kish and Flume. Back home, Chet Faker was nominated for five 2012 Australian Independent Record Labels Association (AIR) Awards, winning for Best Independent Single/EP and Breakthrough Independent Artist. He was also nominated for two Rolling Stone Awards for Best New Talent and Best Independent Release, winning Best Independent Release. His Flume collaboration, single "Drop the Game" and Lockjaw EP, was certified gold within weeks of its release and polled at #5 in the 2014 triple j Hottest 100.
THE TWO CLASSIC BURIAL ALBUMS ARE BEING RE-PRESSED ON 180G DOUBLE VINYL AND, FOR THE FIRST TIME, UPDATED TO INCLUDE THE BEATLESS ATMOSPHERIC TRACKS THAT UP UNTIL NOW HAVE ONLY BEEN AVAILABLE ON THE CD VERSIONS. THESE NEW PRESSINGS ALSO COME WITH UNIQUE CODES FOR FREE DOWNLOAD. PLEASE NOTE - THESE ARE NOT RE-ISSUES, THERE’S NO NEW MUSIC, NOTHING REMASTERED - JUST REVISED, IMPROVED AND BACK IN PRINT. SORRY IT TOOK SO LONG.Certain to be one of the most memorable albums of the year and without a doubt its most groundbreaking - Burial's debut album has already been subject to extensive discussion and focus dotted around the entire musical spectrum, from the cavernous Dubstep community at one end to the expansive critical behemoth of Pitchfork and Simon Reynolds at the other. Cliché and hyperbole aside, it's true to say that only once in while we're presented with an album of such chilling sensation, tempered skill and emotional mastery that the listener is overwhelmingly submerged into the producer's wholly realised creation of a musical urban legend. Burial's sonic and geographic roots in an anonymous south London location are clearly apparent in the subterranean blues of opener 'Distant lights', affecting the synapses with MDMA singed pads floating over an impossibly slinky 2-step syncopation and luscious diva lick, summoning lost feelings for mid-late 90's rave dystopia. On the narrative tip Spaceape becomes the dark interpreter for the phantom dancehall machinations of 'Spaceape', whilst 'wounder's' offstep organ stabs part the way for the comforting paranoia of 'Night Bus'. 'Southern comfort' is one of two tracks lifted from the stunning 'south London boroughs' EP that first introduced Burial to us about a year ago, epitomising the dynamic impetus behind Burial's legend-creating narrative consistent throughout the album. 'Gutted' expresses a mournful sonic sentiment, before the emotional pinnacle of Broken Home's tumultuous bassline and disembodied capleton lick leaves you in a crippled mess. The haunted rhythmic bliss of 'Prayer' slips into catharsis, clearing the airwaves for Burial to allow the ghosts of long-gone transmissions, raves and soundsystem reverberations to be channelled through his expanded bandwidth for album closer 'Pirates'. Respect to Hyperdub, a shocking debut.
Join the German beat producer Wun Two at his penthouse. First time on vinyl.
Egyptian Lover is a legendary west coast hip-hop pioneer from the days before Gangsta Rap. We're reissuing his groundbreaking "Egypt, Egypt" single as a custom-made pyramid, to be followed by an Egyptian Lover anthology. Born Greg Broussard, Egyptian Lover was a rapper, DJ, producer and record label owner who was hugely influenced by the New York electro scene, as well as by the electro-funk of Zapp. He made flat-out party music backed with a Roland 808: dynamite for the dance-floor. He began with Uncle Jamm's Army – rocking dance parties of 10,000 people at the L.A. Sports Arena – then made his own impact as a solo artist. "Egypt, Egypt," his first single, released in 1984, was an L.A. anthem. It is backed with "Girls," taken from On The Nile, one of the first full length hip-hop albums from the left coast, released on his own label Egyptian Empire Records. These early works have become staples of electro sets across the world. Stones Throw has collected these and other recordings, many from the original 2-inch master tapes, for the vinyl anthology Egyptian Lover 1983-1988, coming in 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.
"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.
Second single from MF DOOM & Madlib's album Madvillainy. This includes two non-album tracks.
Mild High Club is the home for the musical output of Alexander Brettin, a jazz-schooled musician transplanted from the Midwest to Los Angeles. Premiered originally via Stereogum, they write of the blissed out psych track, “it feels like a lost ‘60s tune, each note sustained with a twirl of vibrato creating an elongated nonchalant West Coast vibe...it’s sweet, in all senses of the word.”Recording with a Fostex 4-track cassette recorder, MacBook, 12-string electric guitar, PortaSound keyboard, bass, drum machine, software instruments “and whatever was lying around,” Brettin began recording Timeline in 2012. In addition to the pure pop of singer-songwriter Todd Rundgren, sixties psych wields an obvious influence over Mild High Club’s music. Brettin strips away the opulence and over-thetop arrangements and oddball tomfoolery commonly associated with it in favor of phased melodies and heartfelt lyrics. Mild High Club recently toured with post-punk pioneers Wire and has shared the stage with the likes of Mac DeMarco, Ariel Pink and Mikal Cronin. This summer, he’ll embark on a string of North American and European dates with King Gizzard and the Lizard Wizard, so make sure you catch KCRW’s “local artist we love” with the “woozy dream pop” sound that has NME excited.
Lil Ugly Mane is a rapper and producer from Richmond, Va. who also happens to be what is known as “the truth.” As the most mysterious affiliate of Spaceghostpurrp’s Raider Klan collective, he’s that dude who designs all their Master P-meets-Morbid Angel lookin’ album covers. As a producer, he makes beats so thick and creamy it makes Clams Casino’s shit sound like Drake songs. Vibe-wise, the dude just gets everything right. Think Pimp C on a Gravediggaz track. If that doesn't make your dick hard, then your dick is retarded.
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Forever a wildcat and wild card, Los Angeles' bassist/songwriter/vocalist Stephen Bruner, aka Thundercat, is impossible to tame artistically. A true master of his craft, he can be found playing bass with Flying Lotus, Erykah Badu and Suicidal Tendencies, in the same breath as performing live with the likes of Stanley Clarke, Snoop Dogg or the Red Hot Chili Peppers. His 2011 solo debut (The Golden Age of Apocalypse, co-produced by Flying Lotus) created an equally genre-blurring enigma of indie rock and jazz, with a touch of electronica. On his second album, Apocalypse, Thundercat pairs up with executive producer Flying Lotus to pull the veil back and reveal the simple truths of the cycle of life, for all its beauty and destruction. An album about loss and rebuilding, trying to gain something back, and capturing that moment of clarity where one finally finds feet back on the ground again. Bringing a fusion of pop, soul, electronica, prog rock and funk into an unexplored dimension, the album slowly descends and tunnels to the core of what it takes to grasp peace, at a time that it seems most far. From the deep, rumbling entrance of 'Tenfold,' each of the 12 tracks coalesce with Thundercat's signature bass, his riffs and basslines gliding sky high to meet Fly Lo's astral touch. Bruner's vocals and harmonies also soar with open honesty, rising above heartbreak with uplifting odes to love and companionship ('Tron Song') and wise mantras to live by ('Special Stage'). The album plays as a comedy and tragedy at the same time, delicately addressing tracks like 'We'll Die' while bringing the all-out cosmic funk of the anthemic 'Oh Sheit, it's X.' As heavy as the lyrical weight may be, the divine musicality of Flying Lotus, and Thundercat's instrumental collaborations, brings light. Navigating dense rhythms and intense harmonic progressions, the LP pushes through the hypnotic strands of 'The Life Aquatic,' the analogue explorations of 'Lotus & The Jondy' (recorded in Adrian Younge's studio with drummer Thomas Pridgen), and Thundercat and Lotus' prog rock jam 'Seven,' a spontaneous improv recording that organically materialized in less than an hour. It's no wonder the kindred pair often refer to their freeform sessions as "going to space." Continually pushing tracks to their furthest point, they take the listener to another place completely - somewhere beyond time, a place that transcends this realm. As the aforementioned track 'Seven' (named for its challenging time signature) asks, "Can you hear the sounds of infinity?"
Black on Both Sides is the debut album of Mos Def, now known as Yasiin Bey, released October 12, 1999 on Rawkus Records. The album features an emphasis on live instrumentation and socially conscious lyrics and has features from Q-Tip, Busta Rhymes and Talib Kweli. Continuing with the Respect The Classics campaign, UMe will be reissuing this classic album back on vinyl for the first time in over 10 years.
3 x black 180g 12"s in artworked 3mm spined sleeves all housed in a rigid board outer slipcase. Half speed cut by Matt Colton at Alchemy Mastering. Includes 2 x 12" poster inserts featuring exclusive artwork by KC Woolf Haxton and story adaptation and calligraphy by Kenturah Davis. MP3 download code also enclosed. The story begins with a man on high. He is an old man, a warrior, and the guardian to the gates of a city. Two miles below his mountainous perch, he observes a dojo, where a group of young men train night and day. Eventually, the old man expects a challenger to emerge. He hopes for the day of his destruction, for this is the cycle of life. Finally the doors fly open and three young men burst forth to challenge the old master. The first man is quick, but not strong enough. The second is quick, and strong, but not wise enough. The third stands tall, and overtakes the master. The Changing of the Guard has at long last been achieved. But then the old man wakes up. He looks down at the dojo and realizes he’s been daydreaming. The dojo below exists, but everyone in training is yet a child. By the time they grow old enough to challenge the old man, he has disappeared. This is, in essence, both a true story and a carefully constructed musical daydream, one that will further unfold in May of 2015, in a brazen release from young Los Angeles jazz giant, composer, and bandleader Kamasi Washington. The Epic is unlike anything jazz has seen, and not just because it emanates from the boundary-defying Brainfeeder, which isn’t so much a label in the traditional sense as it is an unfurling experiment conducted by the underground producer Flying Lotus. The Epic is a 172-minute, three-volume set that includes a 32-piece orchestra, a 20-person choir, and 17 songs overlaid with a compositional score written by Washington. Pulsing underneath is an otherworldly ten-piece band, each member of which is individually regarded as among the best young musicians on the planet – including bassist Thundercat and his brother, drummer Ronald Bruner Jr., bassist (yes, there are two) Miles Mosley, drummer Tony Austin (of course there are two), keyboard player Brandon Coleman, pianist Cameron Graves, and trombonist Ryan Porter. Patrice Quinn’s ethereal vocals round out the ensemble. The band are all from Los Angeles, mostly South Central, and its members – who call themselves variously “The Next Step” and the “The West Coast Get Down” – have been congregating since they were barely teenagers in a backyard shack in Inglewood. Washington, 32, has known Bruner since he was two. The rest met, at various stages, by the time they were in high school. The hours they have put into the music, playing together and practicing alone, total cumulatively in the tens of thousands. "Nothing compares to these guys," says Barbara Sealy, the former West Coast director of the Thelonious Monk Institute of Jazz, who has championed Kamasi and his compatriots from the beginning. “I challenge any group to go out on stage with them and see if they can keep up with it... Kamasi is at the top of his game, and only getting better.” “These young guys,” the rapper Common says, “remind me of why I love music.” And the story The Epic tells, without words but rather through some combination of magic, mastery, and sheer force of imagination, is the story of Kamasi Washington and the Next Step and their collective mission: to remove jazz from the shelf of relics and make it new, unexpected, and dangerous again. They seek to both honour and alter tradition: as The Epic’s opening track announces, they are the “Changing of the Guard”. The sound can be felt like flames, sometimes waving in the coziness of a fireplace, in other moments sweeping everything around like a backdraft. But Kamasi is always in control of the burning. “He just plays the craziest shit, man. I mean, everything — the past, present, the future,” Flying Lotus says, whose family lineage includes one of Washington’s direct musical forebears, John Coltrane. “It's hard to find unique voices in this music. Especially in jazz, more so lately, everybody is trying to do the same shit. I don't want to hear ‘My Favorite Things’ anymore… What I am hearing is a leader among artists.”
First run of LPs is on randomized colored vinyl. Orgone is one of the most exciting bands in the new generation of funk bands; led by the powerhouse vocals of Adryon de Leon, Orgone recalls such legendary groups as Rufus and Sly & The Family Stone at their best! The band has backed Alicia Keys on her As I Am album and Cee Lo Green on his Grammy-winning track Fool for You. Beyond The Sun is the most complete fulfillment of Orgone s full spectrum of sound, ranging from the in the pocket funk of Don’t Push Your Luck to the evocative balladry of No Pain to the clubby-jam of the title track and the scorching instrumental workouts on Meat Machine and Sabi. A highlight is a hot version of Rufus I m A Woman (I m A Backbone).
Triple vinyl LP pressing. 2010 release from 14-time Grammy-winning producer, writer and performer Kanye West. My Beautiful Dark Twisted Fantasy includes Nikki Minaj, Jay-Z, Rick Ross, and Justin Vernon of Bon Iver on the smash street single "Monster" and Pusha T on "Runaway" which received the Best New Music stamp from Pitchfork. Other guests include Kid Cudi and Raekwon and contributing producers include RZA of Wu-Tang Clan, Pete Rock, and Q-Tip. The album was recorded in Honolulu and at the legendary Electric Lady Studios in New York City.
Cavern Of Anti-Matter is the new project from Stereolab mainman Tim Gane, now Berlin-based and collaborating with original Stereolab drummer Joe Dilworth, and synth wizard Holger Zapf. This is their first album proper following limited edition vinyl releases on Grautag, Deep Distance, Peripheral Conserve and Associated Electronic Recordings. Void Beats/Invocation Trex also features contributions from Bradford Cox (Deerhunter), Sonic Boom (Spacemen 3) and Jan St. Werner (Mouse On Mars).
This is the first release from Anderson .Paak & Knxwledge as Nxworries. The EP includes the new single “Link Up,” “Suede” and “Droogs,” a Knxwledge remake of the Anderson .Paak single, along with instrumental bonus beats.
In the 4 years after Clipse dropped their sophomore classic Lord Willin’, the duo was able to build a legacy that had fans hungry for new material. After the smoke cleared and they hit the studio, the Virginia brothers recorded the confidently mature sophomore effort, Hell Hath No Fury. Best known for their unconventional radio smash “Grindin’,” Clipse are no strangers to taking risks with the boundary-pushing Neptunes, who return as trusted co-pilots for Hell Hath No Fury. As always the duo is right at home over The Neptunes crafted beats which perfectly embrace Pusha’s inventive drug-game metaphors and Malice’s soul-baring confessionals. From the bouncy lead single “Mr. Me Too” and the Slim Thug assisted “Wamp Wamp” to the oddly haunting "Keys Open Doors" to "Momma I'm Sorry", Hell Hath No Fury represents some of the duo’s best work. On the hypnotic “Keys Open Doors,” over the eerie mix of screwed-up angelic voices, chimes and congas, the brothers run circles around the competition, while the spine-tingling boom-bap of “Ride Around Shining” sets the stage for Pusha’s hilarious boasts. Whether rhyming over distorted, lo-fi guitar plucks (“Dirty Money”) or overblown 808s (“Trill”), the brothers come with colorful references and inventive word play that easily places them in a lyrical class of their own. Get On Down now proudly issues this Neptunes produced favorite on LP for the first time ever with the first run on white vinyl.
KMD (Kausing Much Damage, or a positive Kause in a Much Damaged society) was a Hip Hop group in the early 90s perhaps best known for launching the career of acclaimed MC/Producer MF Doom (known during his KMD tenure as Zev Love X). After guesting on 3rd Bass’ “The Gas Face,” the trio (Zev, brother Subroc, and Onyx) released the acclaimed and overlooked “Mr. Hood” full-length. Their political outlook was similar to the group Brand Nubian, who guested on Hood; however, the style was more comical and included a great deal of clips from old children’s recordings, mostly notably a sample of the Sesame Street character Bert on the single “Who Me?” This is the official Elektra Records/Traffic Entertainment Group re-release with original artwork and track listing in it’s entirety. Cutting edge, ahead of it’s time production and skits from KMD and Stimulated Dummies (John Gamble and Mr. Dante Ross). Features the singles “Peachfuzz”, “Who Me?” and “Nitty Gritty” (feat. Brand Nubian). This is one Rap album that is not to be missed.
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4th (and last?) pressing on black vinyl! First time reissue of the worldwide famous video game theme released in Japan in 1986. Identical 7" reissue with original artwork, with folded poster sleeve and sticker.
Official double vinyl re-release with gatefold on 180 gram transparent blue/transparent orange vinyl. 20th Anniversary of the Infamous album. This album had guest features from Rae-Kwon & Ghostface Killah (Wu- Tang Clan), Nas, Q-Tip, & many more...
Released four years after its previous album, Hard to Earn, this album could be perceived as a comeback, with a newer, updated style of the group's already-established jazz-tinged hip-hop. The album is the group's most commercially successful album to date. The lead single, "You Know My Steez," became the duo's second Billboard Hot 100 appearnce in 1997. Continuing with it's Respect The Classics campaign, UMe will be reissuing this classic album back on vinyl for the first time in 15 years.
With the official follow-up to the classic "Operation Doomsday," MF Doom has hip hop heads foaming at the mouth. Cooked up with his special herbs and spices, get ready to devour "Mmm...Food," with the help in the kitchen from Count Bass D, Mr. Fantastik, and the good folks at Rhyme Sayers Entertainment.
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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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