The underground hip-hop scene in Los Angeles is constantly expanding, with artists flowing in and out of the cities boundaries that activate every area of the genres base. Few artists remain embedded with creative endurance intact and one of the rising hip-hop voices whose spirit remains true to LA is Trenttruce. He’s a frequent collaborator to Stones Throw / Leaving MC Koreatown Oddity and Black Jungle Squad co-founder Jeremiah Jae, guiding an opulent sense of lyricism over an odyssey of experimental beats. After a few years of backing others in the underground world of LA hip-hop, Life After Life is Trenttruce’s debut album. The Order Label is home to artists such as Milo, Jonwayne, Sahtyre and Kenny Segal. Trenttruce will be a main staple for the imprints momentum going into the future.
The Greek beat-head massive is represented once again on the Cold Busted label with Beatbop Street. It’s an album from the cool new project AndyFellaz, a collaboration of Athens-based producer Billa Qause (Beatquick) and percussionist Nikos Martziokas (Wolfy Funk). Influenced by ’90s hip hop, trip hop, Latin montunos, jazz, and lounge, the pair have delivered fourteen exciting cuts that groove and shimmer with the best of ’em. Highlights include the melancholic skank of “Just One More Time”, “Rumbetas”’s classic acid jazz style, the funky swing of “Two Weirdos”, and “Madrugada”’s dreamy cosmic salsa. The set also includes contributions from Wolfy Project’s bass player Konstantinos Stamou, as well as Yegor Cergei who reveals an elegantly cut-up remix of “Just One More Time”. Beatbop Street will satisfy the hip hoppers, the loungers, the jazzers … pretty much any fan of funky downtempo will be convinced by AndyFellaz. Dig it.
Clutchy and Fatty....High desert crunch meets city life punch for this collaborative project in sound. Instrumental elements of soul, jazz, hip-hop, rock and more resonate throughout the record. Just what any Clutchy Hopkins or Fat Albert Einstein fan would ask for; track after track of laced up loveliness. These two gents pair banging rhythms with lush melodies and top them off with their signature low brow high fi sound. Guaranteed for some straight nasty. Acoustic and electric instrumentation set the tone and in their individual styles; Clutchy and Fatty navigate your journey through psych folk caverns of cactus dust and marine layer funk with bloodshot rust. It is distinctive, original and fresh, paying homage to the past, present and future. Visionary folk funk.
Limited to 150 copies. Volume 3 of the Clean Plate Club beat tape series features the work of long time collaborator & Full Plate Family member, Batsauce (Member/Producer for The Smile Rays, Duct Tape, Lady Daisey, Mr. Lif, Akrobatik, Qwaazar, Dillon and many more! ) Always flying in his own direction, Bat's background as a bassist and avant garde jazz musician shines through in this collection of instrumentals ranging from the far left field to on-the-one funk. Perhaps a more subtle influence are his world travels which can be heard throughout the album in the form of obscure samples, regional percussive patterns & international instrumentation. When Batsauce isn't making banging beats, he's making coffee for his wife, the ever lovely, Lady Daisey. Also, ask him about his George Clinton stories...
The Far Field refines and builds on the breakthroughs of the Baltimore-based trio’s 2014 album Singles, bursting with undeniable hooks and disarmingly honest lyrics written by Samuel T. Herring (vocals, lyrics), William Cashion (bass, guitars) and Gerrit Whelmers (keyboards, programming). After the success of Singles and the hundreds of Future Islands shows played in that period, the band began writing new material on the coast of North Carolina, and continued throughout the year in Baltimore before road-testing these songs at a series of secret shows under fake names. Later that year, they traveled to Los Angeles to record with Grammy Award-winning producer John Congleton at the legendary Sunset Sound, where everyone from The Beach Boys to Prince have laid down masterpieces. With string and horn arrangements by Patrick McMinn, The Far Field is the first Future Islands record to feature live drums by Michael Lowry, who joined the band prior to their sensational performance of “Seasons (Waiting On You)” on David Letterman’s late night TV show. Blondie’s Debbie Harry also makes a guest appearance, in a duet with Herring on penultimate track “Shadows.” Across The Far Field’s twelve chest-pounding love songs and odes to the road, Future Islands brilliantly expresses the band’s central themes they’ve been exploring for the last decade: that there is power in emotional vulnerability, that one can find a way to laugh and cry in the same breath – and be stronger for it. “This is the kind of band that makes you wish other bands tried harder.” - Pitchfork “An absolute and unqualified triumph” -Stereogum “Mournful, triumphant, heroic” -Complex
Pure Comedy, Father John Misty’s third album, is a complex, often-sardonic, and, equally often, touching meditation on the confounding folly of modern humanity. Father John Misty is the brainchild of singer-songwriter Josh Tillman. Tillman has released two widely acclaimed albums – Fear Fun (2012) and I Love You, Honeybear (2015) – and the recent “Real Love Baby” single as Father John Misty, and recently contributed to songs by Beyoncé, Lady Gaga, and Kid Cudi. While we could say a lot about Pure Comedy – including that it is a bold, important album in the tradition of American songwriting greats like Harry Nilsson, Randy Newman, and Leonard Cohen – we think it’s best to let its creator describe it himself. Take it away, Mr. Tillman: Pure Comedy is the story of a species born with a half-formed brain. The species’ only hope for survival, finding itself on a cruel, unpredictable rock surrounded by other species who seem far more adept at this whole thing (and to whom they are delicious), is the reliance on other, slightly older, half-formed brains. This reliance takes on a few different names as their story unfolds, like “love,” “culture,” “family,” etc. Over time, and as their brains prove to be remarkably good at inventing meaning where there is none, the species becomes the purveyor of increasingly bizarre and sophisticated ironies. These ironies are designed to help cope with the species’ loathsome vulnerability and to try and reconcile how disproportionate their imagination is to the monotony of their existence. Something like that. Pure Comedy was recorded in 2016 at the legendary United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, CA. It was produced by Father John Misty and Jonathan Wilson, with engineering by Misty’s longtime sound-person Trevor Spencer and orchestral arrangements by renowned composer/double-bassist Gavin Bryars (known for extensive solo work, and work with Brian Eno, Tom Waits, Derek Bailey.
Comes in a diecut jacket with a reversible inner sleeve plus an insert with additional artwork and interview with composer Carlo Maria Cordio. Mastered for vinyl by James Plotkin and artwork by Devon Whitehead. Lunaris Records is proud to unleash the soundtrack for the 1990 cult classic horror comedy, Troll 2. Composed by Italian maestro Carlo Maria Cordio (Absurd, Pieces, Body Puzzle), the soundtrack offers an eclectic mix of synth, bluegrass, and guitar rock jams.
On their sixth album VOIDS, Minus the Bear started with a blank slate, and inadvertently found themselves applying the same starting-from-scratch strategies that fueled their initial creative process. Album opener "Last Kiss" immediately establishes the band's renewed fervor. An appropriately dizzying guitar line plunges into a propulsive groove before the chorus unfolds into a multi-tiered pop chorus. From there the album flows into "Give & Take", a tightly wound exercise in syncopation that recalls the celebratory pulse of early Bear classics like "Fine + 2 Pts" while exploring new textures and timbres. "Invisible" is arguably the catchiest song of the band's career, with Jake Snider's vocal melodies and Knudson's imaginative guitar work battling for the strongest hooks. "What About the Boat?" reminds us of the "math-rock" tag that followed the band in their early years, with understated instrumentation disguising an odd-time beat. "Erase," recalls the merging of forlorn indie pop and electronica that the band dabbled with on their earlyEPs, but demonstrates the Bear's ongoing melodic sophistication and tonal exploration. By the time the band reaches album closer "Lighthouse," they've traversed so much sonic territory that the only appropriate tactic left at their disposal is a climactic crescendo, driven at its peak by Cory Murchy's thunderous bass. Not since Planet of Ice's "Lotus" has the Bear achieved such an epic finale. All in all, it’s an album that reminds us of everything that made us fall in love with Minus the Bear in the first place, and a big part of that appeal is the sense that the band is heading into uncharted territories.
The Jesus and Mary Chain haven’t released a new album in 18 years. Last year, the band’s Jim Reid said they were working on a new album, and last month Creation Records’ Alan McGee said it would be out in March. Today, they’ve officially announced Damage and Joy, their first album since 1998’s Munki. It’s out March 24 via ADA/Warner Music. Damage and Joy was recorded with producer Youth (who also contributed bass). The album also features performances from the band’s touring drummer Brian Young and former Lush bassist Phil King.
Foxygen is the Big Bang of two combusting minds. It's the splayed Galaxy of polar geniuses Sam France and Jonathan Rado. It's a handshake with a knife behind your back. A sleepless night in a five star hotel. You listen to Hang properly. You take in each moment. Each new melody that threads forward from the fingertips of one of this generation's finest pianomen in Jonathan Rado. And you fall in line behind Sam France's sprawling and reckless lyric.Witness his mastery. Feel them struggle against the walls of their own creations. Follow them there. To the perimeter. To the exit sign. Notice that the two young guys aren't there anymore. They're outside looking for another joint to haunt. They're already out of sight.
Society would deem that a prodigious girl can't be in a progressive rock band while also being in complete control of its creative vision, business plan and social messaging. Society is wrong. Clem Creevy, a 19 year old teen Queen dreamed up Cherry Glazerr in her LA bedroom alone and is perhaps more capable of figuring a music career out than anyone who attempts this treacherous life path. Back in 2014, much-loved Cali imprint Burger Records released their intoxicating debut Haxel Princess and Suicide Squeeze released the Had Ten Dollaz 7-inch. On Apocalipstick, the band worked with “rock'n'roll wizard” Joe Chicarelli [White Stripes, The Shins, The Strokes] and Carlos de la Garza [Bleached, M83, Tegan and Sara]. With their help and the band's newfound self-discipline and motivation, Cherry Glazerr has evolved into a wildly complex, hugely guitar heavy, and unapologetically loud machine.
Limited to 150 copies. You want to hear some real dope soul and funk influenced music? Then please check out the brilliant release “Pleasure Palette” by Flamingosis, a young producer from New Jersey, USA. Terrific grooves, electronic funk meets BoomBap with an excellent sample selection. “A collection of instrumentals for you to warm up to. They come straight from the heart. Much love to my friends BeRod, Macross 82- 99, Beatmachinearon for collaborating on the album with me. And a big thank you to everyone else who supports my work. You’re the real mvp’s.”
Atlantic Records has announced the highly-anticipated release of The Hamilton Mixtape, an unprecedented musical companion to the landmark Broadway musical by Tony, GRAMMY® and Emmy Award-winner Lin-Manuel Miranda.Executive produced by The Roots’ Ahmir “Questlove” Thompson and Tarik “Black Thought” Trotter, The Hamilton Mixtape sees songs from the Pulitzer Prize-winning musical covered and remixed by a remarkable cast of contemporary artists. Superstars contributing to the one of its kind collection include Sia, Usher, Kelly Clarkson, The Roots, Alicia Keys, Nas, Wiz Khalifa, Chance The Rapper, John Legend, Regina Spektor, Ashanti, Ja Rule, Miguel, Queen Latifah, Common, Ben Folds, Andra Day, Jill Scott, Jimmy Fallon & more. The Hamilton Mixtape also includes three previously unreleased HAMILTON demos.
Hailing from within the heat of Florida, Brandon* is a gifted producer whose musical style is an eclectic blend of hip hop, jazz, lounge, and latin flavors. Tough beats move alongside swirling strings, soundtrack-ish atmospheres, and nostalgic orchestral arrangements, all seemingly lifted from obscure vinyl thrift store finds in the sunny retirement capitol. It’s a refreshingly perfect mix of elements, resulting in ‘beats music’ that is amorous and enchanting. This is even more apparent on Brandon*’s latest long-player on the Cold Busted imprint, titled Dreamscape: Part 4*. The producer’s other Dreamscape releases explored his distinct sound, and this latest brings Brandon*’s M.O. to further maturity and acclaim. From the bombastic bossa of “Cabana Chat” to “Oasis”’s gentle acoustic guitars to the tropical jazz vibe of “Rio Dio”, Dreamscape: Part 4* will delight and captivate, and nicely compliments an exotic cocktail.
Krepek Records x Vinyl Digital Exclusive: Limited Edition of 500 Copies! A kick & a snare - a European affair: From the idea of providing a platform for friendly producers came a Beattape series, which provoked an international response and grew over the years. Now, the third edition of AudioDope appears. Three years have passed since the success of AudioDope 02. Time used at the Krekpek home to upgrade: the collective has restructured to imprint. At the end of 2015, Benne Basquiat and Figub Brazlevic jointly raised Krekpek Records. After more than one and a half years of careful selection, the young label presents another release in the catalog with AudioDope 03. Brazlevic is again responsible for arranging and mixing, and on the 29 tracks a mixture of young savages and well-established greats will prove their abilities. Balanced and without stylistic blinkers, the third edition brings together what belongs together. Hardest headnod snares, playful jazz sax, warm basslines, futuristic plug-in screw and classic synth bounce. The variety of beatmakers proves how versatile instrumental hip-hop is. The productions presented here are not only from Germany, but also from France, Belgium and Austria. Posts by Gibmafuffi, FloFilz, Enaka, Bluestaeb, Sonus and Kabuki feature, now also on vinyl. “It is always motivating to start the Beattape with the best flavor and to support what you like,” Basquiat says. This is achieved with “AD03” with playful ease.
Tree Colored See is a collaborative effort between renowned L.A. hip hop and electronic producer Nobody (Elvin Estella) and Mystic Chords of Memory (featuring Chris Gunst of The Beachwood Sparks and The Aisler SetOs Jen Cohen). After swapping successful guest appearances on a few releases, the trio began working on a collaborative project in the spring of 2004. After a year filled with road trips and mailorder-only production efforts, the group hits upon a perfectly crafted blend of psychedelic hip-hop and sunshine folk-rock. A producer/ arranger in the classical sense, Nobody uses his samplebased tool set to create the foundations of the album. Gunst continues to mature as a songwriter and along with partner Cohen, adds wistful vocals and accomplished musicianship. Fans who may have followed these artists throughout their respective careers will be thrilled at how Tree Colored See brings out the best in each.
Shouts to: Grandma (I miss you) Wylie, Dome of Doom, Low End, Alpha Pup, TeamSupreme, Rootnote, Cotown, Zona, Hit+Run, MHD, Brainfeeder, Meme Mob, El Sereno, Suzi Analogue, Beat Cinema, Leaving Records, Hideo Kojima, Gian, Adal, Alex, Jonny, Durks, Teman, Raman, Fey, Depy, Gypsy, PinkSiifu, Lundy, Ringo, Alima, Stevie Wonder, Nalepa, Kenny, Driver, Milo, Gramps, Lauren, Lesli, Chris, Mom +all other friends and fam i love you
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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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