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2016 marks the long-awaited debut album from New York’s Flatbush Zombies. Following in the footsteps of acclaimed mixtape predecessors D.R.U.G.S. (2012) and Better Off Dead (2013), 3001: A Laced Odyssey is a career-defining album for the Brooklyn trio. Produced entirely by Erick “Arc” Elliott, the twelve-song opus features emcees Elliott, Meechy Darko, and Zombie Juice in prime form. The moody and introspective record – with flourishes of their trademark dark humor - is what their legions of diehard fans have come to expect. Non-album promo track “Glorious Thugs” set the tone for the project, garnering over 1.7 million streams in less than one week. To best capture these larger than life personalities, the group enlisted the services of David Nakayama (Marvel Adventures, Deadpool, Avengers AI, Big Hero 6) to create their epic comic book LP cover.
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OutKast has almost singlehandedly defined the sound of Atlanta rap. Tongue-flippin', rhyme-spittin' and Cadillac-ridin', all with a Southern accent, Big Boi and Dre have proved tobe the South's ideal MCs. ATLIENS continues in the same vein as Outkast's 1994 debut, SOUTHERNPLAYALISTICADILLACMUZIK, with producers Organized Noize back to accompany the duo's laid-back flow. Big Boi and Dre proclaim to prove a point with every rhyme, never wasting a line. They like to think of themselves as outcasts from the hip-hop community--aliens,so to speak. Their tracks have an outer-space feeling to them--a feeling that, ironically, has warmed the community right up to them. They're so out, they're in.
The late 1990s was a fertile time in the American electronic underground. At the convergence of hip-hop, electronic, and soul music, these artists sought to carve out their own lane. In September 2001, New Orleans' Telefon Tel Aviv, high school friends Joshua Eustis and the late Charles Cooper, joined the conversation with their debut album, Fahrenheit Fair Enough, released by Hefty Records. A labour of love, Fahrenheit was an attempt by the pair "to contribute something meaningful" Eustis says today, "something definitely American, and kinda southern too." Living in New Orleans in the late 1990s, Eustis and Cooper were in the thrall of two musical orbits: black America -- New Orleans' bounce, Detroit's techno, Chicago's house -- and British electronica -- Autechre, Aphex Twin, Jega. Recorded over the course of a year in Eustis' childhood bedroom in the Riverbend neighborhood of New Orleans, Fahrenheit mapped out a potential for American electronic music in a time of hope.On the fifteenth anniversary of its release, Ghostly International is reissuing Fahrenheit Fair Enough with a vinyl edition and bonus digital material.
Vinyl Digital Exclusive - Limited to 500 Copies on blue / orange colored vinyl! Official repress of the legendary debut album by TOKiMONSTA. Comes with 2 bonus tracks - first time on vinyl! The official debut album from LA female beat maker TOKiMONSTA, first female to be apart of Flying Lotus Los Angeles-based crew/label Brainfeeder. Born and raised in the South Bay area of Los Angeles, TOKiMONSTA (Jennifer Lee) was an unfocused pupil of classical piano. However, she has come to use this background to create vast textural soundscapes by utilizing live instruments, percussion, digital manipulation, and dusty vinyl. Her music is rooted in hip hop rhythms fused with classic soul, traditional percussion, avant-garde jazz, experimental electronica, psychedelic rock, and everything in between--there is no ""one-way"" to describe her style. Through the creation of beats, she is able to fuse vintage styles with progressive sounds into something unique. Though distinctly known as being one of few female producers in her sphere, her music has come to represent itself.
A Tribe Called Quest‘s final album and first in 18 years: We Got it From Here… Thank You 4 Your Service.
YES LAWD! As temping as it may be to just let that exclamation suffice as your sole introduction to NxWorries, we should go a little deeper. The men at the heart of this LP — soul styler Anderson .Paak and loop beast Knxwledge — make an exceedingly clean pair, even as they deal almost entirely in the gritty: vocals that sound lived in for a couple of lifetimes; beats that kick up dust as they bump; and an 18-track set that plays like a mixtape merging skits, songs, and snippets into a package of fluid groove and rough-cut rap ‘n’ soul gems. You may have heard these two out in the world, on their own or sprinkling some of their musical gold dust on someone else’s songs, but this is what happens when .Paak and Knx get home, lay back, light up, and let it go. If there’s a Blaxploitation vibe to Yes Lawd!, that’s just the depth of NxWorries’ funk and strut showing. If there’s gospel in the grits, that’s the history of the cooks. Each grew up with religion. It was Knxwledge’s job to tidy up the family church in Jersey as a kid, and when he was done, he got to play on the instruments. Better still, when those instruments went bad, he kept them. Similarly, he’d soon find sounds in his growing vinyl cache, and when he moved to Los Angeles in 2008 as a beat maker, his compositions ensured he’d be home at Stones Throw. His hypnotically dank 2015 LP Hud Dreems was the tip of an iceberg—75 Bandcamp collections, and counting. Paak was neck deep in those songs when Knxwledge reached out. The singer grew up in Oxnard drumming in his own family’s church. His folks got locked up when he was a teen, and while he’d eke by on odd jobs (grocer, trimmer, personal assistant), he was homeless for a spell with a newborn son. But .Paak pushed forward, building a career via imaginative albums (2016’s Malibu), and collaborations that always seem to make him the star, even when he’s just there to sing the hook. On Yes Lawd!, .Paak – who calls the album “my best work” – plays theatrically brash version of himself who sings like a ‘70s superstar and talks shit like a stone cold player. But the perfor-mance is seeded with details from his life, which has seen a fair share of struggle and hardwon triumph. Meanwhile, Knx weaves a tapestry of sampled bits and live fragments—bass, brass and violin—that smooths everything over, reminding us that despite whatever struggle it took to get here... well, you already know the name: NxWorries.
In September 2015, Atmosphere began releasing a series of individual songs digitally. In the months leading up to their new album, Fishing Blues, they released a total of seven digital singles. Much to the surprise of Atmosphere fans, none of these digital singles would appear on Fishing Blues, and they remained available as digital singles only... Until now. These seven songs, now packaged together as Frida Kahlo vs. Ezra Pound, will be available for the first time as a 7” boxset. All songs are produced by Atmosphere featuring guest appearances by Aesop Rock, Grieves, Prof, Blueprint, deM atlaS and Eric Mayson. All seven songs, plus their accompanying instrumental versions, each individually complemented by the beautiful artwork of Dave Quiggle; this is a must-have for all fans of Atmosphere. Custom 7” Slipcase containing seven different 7” records each with a unique illustrated jacket containing artwork by Dave Quiggle. Includes Free Digital Download Card.
Double LP including 72-page screenplay, metallic o-card (sleeve), 2 LP printed sleeves. 2013 sophomore full-length album from writer, actor, standup comedian and rapper Donald Glover AKA Childish Gambino. The recording process for the album began in 2012 and continued until October 2013. Because the Internet features guest appearances from Chance The Rapper, Jhene Aiko and Azealia Banks, with production handled by Gambino himself, Christian Rich, Thundercat and Ludwig Goransson among others.
Archy Marshall, the London singer, songwriter and producer better known as King Krule releases a new mixed- media project, A New Place 2 Drown, his first major release since his 2013 debut album, 6 Feet Beneath The Moon. Originally released digitally in compliment to a 208-page coffee-table book of artwork, poems and photographs assembled in collaboration with Marshall’s brother, A New Place 2 Drown is now available physically in a one time limited vinyl pressing of 2,000 copies. Unlike on his earlier King Krule release, 6 Feet Beneath The Moon, where Marshall’s voice was the star, here he dissolves it into the grey mist of his beats. Mostly he croons or mutters over crackles, drips, and clanks. What it does share with his earlier releases is the ability to create a full fledged three-dimensional world in which the individual records coincide together, full of flickering halogen bulbs, sticky synth keys, and corroded outputs.
MarQ Spekt and Blockhead have teamed up once again for a new album titled Keep Playin. The duo’s latest project is a follow-up to their 2014 LP JustPlayWitIt, one of that year’s best yet most slept-on projects. The Broady Champs MC and acclaimed producer link up to craft yet another gem that any underground hip-hop fan is sure to enjoy. The duo’s new album features 13 tracks filled with MarQ Spekt’s unique brand of grilchy rhymes paired up with Blockhead’s modern twist on boom bap production. Sadat X of Brand Nubian, Conway the Machine and Karniege are among the notable guests on this exclusive vinyl release.
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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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