Centipede Hz is the tenth full length Animal Collective album following the widely celebrated Merriweather Post Pavilion (2009) and also the first since Strawberry Jam (2007) to feature all four original band members: Avey Tare, Panda Bear, Geologist and Deakin. As the album's opening bars of drum crashes and radio interference on "Moonjock" immediately make clear, having returned as a four piece, Animal Collective have made their most widescreen and fully realized music to date. Once touring for Merriweather Post Pavilion was concluded at the end of 2009, Animal Collective released their visual album Oddsac on DVD. The film was also screened internationally at theaters and film festivals. The band created Transverse Temporal Gyrus, an installation for the Guggenheim Museum in New York City and subsequently released a 12" single of the performance and launched a website to distribute music from the event. The period between Merriweather Post Pavilion and Centipede Hz also saw the release of two solo albums: Avey Tare's Down There (2010) and Panda Bear's Tomboy (2011). Regrouping as a four piece with original member Deakin once more in the band, Animal Collective reconvened in their native Baltimore in January-March of 2011 to write material for Centipede Hz with a further session later in the year. Rather than swapping ideas over the internet and file-sharing Animal Collective were, for the first time in many years, exchanging ideas in the same room by playing live instruments. As a result Panda Bear returned to playing a sit-down drum kit for the first time since Here Comes The Indian (2003) and Geologist began playing live keyboards again. Along with using some of the samplers and sequencers with which they had previously been writing, the sound of Centipede Hz draws on the dynamics and energy of Animal Collective playing together as a band. The return of Deakin is at its most marked in "Wide Eyed," a song that he wrote, featuring his first ever lead-vocal performance and whose title captures the mood of Centipede Hz perfectly. Part of the inspiration for Centipede Hz included the band's memories of growing up listening to station announcements and commercials on the radio and imagining the after life of radio signals from the past, forgotten transmissions that are now lost in space and broadcasting music from other planets for other life forms. This is reflected in the sound of Centipede Hz, which features the white noise of radio interference and buried frequencies overlaid with the band's peerless melodic sensibilities and compositional methods. The result is a panoramic set of songs that shimmer with the confidence and wonder of Animal Collective's unique inner logic and the luminous warmth of their sound world.
Merriweather Post Pavilion is the ninth full length album from Animal Collective, recorded with Ben Allen in Oxford, Mississippi. Animal Collective have made a universal record that makes the same beautiful sense on headphones by day, or soundtracking the small hours of the morning, or stretched out in a field on your back. Whether a state of mind, or a rest stop somewhere along the way, Merriweather Post Pavilion magnificently redefines your sense of direction. Located in different continents, Avey Tare, Panda Bear, and Geologist, having operated in their unique way since their inception, have now arrived at a point where their innerlogic makes perfect sense on the whole. Listening to Merriweather Post Pavilion you’ll hear echoes of everything they’ve recorded to date, especially the mesmeric and melodic repetition of Panda Bear’s last solo opus Person Pitch. The whoops and hollers that have previously held together the sublime, chaotic urgency of their earlier work, now signal the calm sense of euphoria and wonder that ripples through this wide eyed record. Throughout Merriweather Post Pavilion, Panda Bear and Avey Tare sing in a newfound clarity, enraptured by the possibilities of the sound they’re making. This record feels like a defining moment for Animal Collective; linear, wild and beautiful, it’s the sound of a band waiting, with arms open wide, to tell you about what they’ve found. And it’s something pretty special.
There are three different album covers, one for each member in the band - Avey Tare, Geologist, and Panda Bear. The album covers are randomized at the manufacturer so we will get a unique allocation of each cover. Each copy will include a sticker sheet with the album title printed in a variety of languages, so you can sticker the album with the language(s) you prefer.For fifteen years Animal Collective has been rewriting the musical map, their line-up and aesthetic shifting with each astonishing release as they continue their pursuit of a new psychedelia. Their wild path has taken them from cramped concrete basement shows and forest floor singalongs to immersive installations at the Guggenheim and performances to millions on national television. So where to from here? Dizzyingly upbeat and gloriously realized, the new album bounces and pops with an urgent, ecstatic energy, propelled by polyrhythmic beats and gurgling modular synth, with Noah Lennox and Dave Portner’s vocals gleefully falling in and out of syncopation and off-kilter harmony. Working as a trio, Portner (Avey Tare), Lennox (Panda Bear) and Brian Weitz (Geologist) began trading demos in early 2015, pursuing a goal of what Portner calls “really short songs: no B.S, get in, get out material…” The three met in Asheville during that spring and began exploring the songs together. Recording took place in the legendary EastWest Studios in Hollywood, home to sessions by The Beach Boys and Marvin Gaye. The album features contributions from John Cale and Colin Stetson, and was engineered by Sonny DiPerri. The result: Painting With. Warm and personal, kaleidoscopic and high definition, concerned with art (Cubism, Dadaism, and the distorted way those artists viewed the world) and the human experience, and the meeting of both - creating something elemental, joyous, and unmistakably Animal Collective.
How can you describe Animal Collective? With every new record you hold your breath. Early releases like Spirit They’ve Gone and Here Comes The Indian pulled each other apart in a kaleidoscope of ideas. Sung Tongs leapt out of the speakers full of sophisticated, primitive campfire hollers and harmonies. Feels was more mysterious and celestial, a little more introverted. Throughout their recordings, the band always sound starry eyed, as if intoxicated by their ability to fuse a basic need to pummel and scream into some strange new harmony. In terms of its scale and vision on the band’s 6th studio album, Strawberry Jam feels like space dust and radar falling on the desert and making it bloom. Strawberry Jam is the sound of a band spinning wildly and intoxicated, at the cusp of their powers, as thick and rich and sweet and colorful as it sounds.
Devonté Hynes has produced a lot of music. Some for himself: Testicicles, Lightspeed Champion and some for others: Basement Jaxx, Florence & The Machine, Theophilus London, Solange Knowles, Cassie, and Diana Vickers. Somewhere in between all of this, Blood Orange was created. Hynes has been living in New York City for the past three years where he has been concentrating on writing and producing for other artists. He simultaneously worked on songs in his bedroom, compiling them onto mixtapes that he would listen to while traveling around the city at night, letting the city’s nocturnal ecosystem seep into the music in his headphones. Informed by the equally neon atmosphere of Chris Isaak, Billy Idol, 80’s Japanese pop such as Yellow Magic Orchestra and French singer F.R David, Hynes took the songs that form ‘Coastal Grooves’ on a trip to the West Coast where he started turning the ideas into an album with producer Ariel Rechtshaid in L.A. Alongside the music he heard playing in after-hours bars, Hynes drew inspiration from the identity blurring work of transgender icons such as Octavia St. Laurent and the playful high-gloss nihilsm of Gregg Araki movies. Blood Orange is the music of a seedy yet inspirational New York night time. The first official release (the more eagle eyed of you might have picked up the infamous ‘exotica sage mixtape’ down an illicit highway or byway) from Blood Orange was the ‘Dinner’ 7” release on Terrible Records, the label run by Chris Taylor of Grizzly Bear.
Cupid Deluxe is the follow up to Devonté Hynes’ debut as Blood Orange, 2011’s Coastal Grooves. Since that album’s release, Hynes has written and produced music for the likes of Solange, Sky Ferreira, MKS, and more. Cupid Deluxe shows a more expansive aural palate than its predecessor while retaining the pop sensibilities that Hynes has showcased since his days in Test Icicles and Lightspeed Champion. Simply put, Cupid Deluxe perfectly highlights why Hynes has become one of the most exhilarating and prolific voices creating music right now. The album was produced by Hynes in his adopted hometown of New York City, mixed by Jimmy Douglass, and features amazing guest appearances by David Longstreth (Dirty Projectors), Caroline Polachek (Chairlift), Samantha Urbani (Friends), Clams Casino, Despot, Adam Bainbridge (Kindness), Skepta and many more. The album will be available for purchase on CD and 2xLP vinyl.
Dev Hynes (Blood Orange) is set to release Freetown Sound, his third proper full-length album, and the most expansive statement of his career. Written and produced by Hynes, Freetown Sound is a tour de force, a pastiche of Hynes’ past, present, and future that melds his influences with his own established musical voice. For well over a decade, Devonté Hynes has proven himself a virtuoso of versatility, experimenting with almost every conceivable musical genre under a variety of monikers. After moving to New York City in the mid-2000s, Hynes became Blood Orange, plumming the oeuvres of the city’s musical legends to create a singular style of urgent, delicate pop music. Freetown Sound, which follows 2011’s Coastal Grooves and 2013’s breakthrough Cupid Deluxe, builds upon everything Hynes has done as an artist, resulting in the most expansive artistic statement of his career. Drawing from a deep well of techniques and references, the album unspools like a piece of theater, evoking unexpected communions of moods, voices, and eras. Freetown Sound derives its name from the birthplace of Hynes’ father, the capital of Sierra Leone. Thematically, it is profoundly personal and unapologetically political, touching on issues of race, religion, sex, and sexism over 17 shimmering songs. Each song echoes into another, with leitmotifs carefully stitched throughout, yielding a sound palette that gently recalls elastic funk, slinky R&B, and pure pop, but resisting easy categorization. For Hynes, the process of self-discovery involved in creating Freetown Sound proved as valuable as the finished product. “This record really tries to say things that I’ve been wanting to express for many years,” he says. “It looks into my childhood and examines who I am at this point in my life. There are so many crazy layers to it that it’s actually quite hard to talk about it, but the record is very reflective of how my brain works. It’s been very interesting for me trying to understand and tie all of these things together. It’s been a way of working through it.”
Occupying the fertile ground between organic band land and an all-electronic production project, Bob Moses draw on the two poles to vividly resonate across both. A duo with an individual name, Tom Howie and Jimmy Vallance’s musical endeavor plays with this kind of duality all over their Domino Recordings debut Days Gone By. The album’s potency in solitude marks it out as a debut worthy of deeper scrutiny. A sound palette that combines the elegantly icy with an indelibly human touch, its Cologne techno rhythms in the bottom, the elegant otherly distance of Detroit in the middle, and an unmistakably earthly, almost jazzy textures in the top end, anchored by Howie’s softly suggestive voice that doesn’t dominate, but instead plays out as another instrument in an alluring mix. Alternating between brooding dancefloor burners and moments of reflective, downbeat repose, Days Gone By is a record that’s not in a rush to get to its destination, preferring to subtly, slowly seduce rather than sway and swagger into submission, weaving a rich spectrum of sensation over the course of its ten tracks.
Four Tet’s now classic album of the electronic genre, Pause (2001) isavailable again on gorgeously rich vinyl. Originally created as a side-project from his group Fridge, Kieran Hebden's solo work as Four Tet has explored cutting edge electronica using source material from jazz, folk and field recordings. His 2001 effort, Pause, explicitly borrows from the rich sonic firmament of '70s acoustic-based, instrumental music. Applying a dizzying array sample-driven manipulations and other DSP processes, Hebden utilizes his computer, not so much as an editing tool, but an improvisational instrument in its own right, summoning improbable electro-acoustic textures that appear to live and breathe in the same auditory space.
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10th Anniversary 180 gram vinyl reissue, with bonus live CD and download codes. To coincide with its ten year anniversary, Domino will reissue Four Tet’s seminal 2003 album, Rounds. The reissue will feature the album as well as a live set from Copenhagen recorded near the time of the original release. Rounds will be available as a heavyweight 180g 2LP-set featuring the Copenhagen live set on a bonus CD plus download codes.The three albums Kieran Hebden, aka Four Tet, released in quick succession: Pause (2001), Rounds (2003) and Everything Ecstatic (2005) represent a high watermark in new forms of pioneering musical creativity. These recordings fine-tuned the techniques of electronic music: sampling, sequencing, tweaking and injected them with an almost alchemical warmth. Disparate forms such as free jazz, hip hop, concrete tape research music and open string folk tunings are distilled into something that can only be described as sounding like Four Tet.In retrospect, 2003 seems like a pivotal year in underground music. It was the year the word “dubstep” first appeared in print, and when Dizzee Rascal’s “I Luv U” brought grime exploding into the public consciousness: both things that would turn British club music on its head, and radically rewire a wider scene that had settled in to creative complacency. It was also the year that various more diffuse strands of acoustic and electronic, psychedelic, experimental sound knitted together into something greater that would – albeit in more subtle and subversive fashion – have just as great an effect. And Four Tet’s Rounds was the album which encapsulated these peculiar, magical stirrings in the cultural undergrowth. Never mind the much vaunted patronage of Radiohead, never mind that Bruce Springsteen is a fan, this is an album which stands on its own merits as brilliantly emblematic of a very particular moment where everything changed.Rounds was rightly praised as an epochal release and garnered across the board acclaim for its bold innovation and intense musicality. The 10-song set saw Four Tet undertake its biggest worldwide tour to date including visits to China and Taiwan. The record's attendant single "As Serious As Your Life" included an exclusive 12'' of remixes from Detroit underground hip-hop legend Jay Dee. The track is a kinetic, refracted tune whose video made Morris-dancing look like the truly psychedelic, mind opening activity it probably is.
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'There Is Love In You' finds Kieran Hebden mixing the tunefulness of his classic 'Rounds' with a more 4/4 oriented pace in keeping with the more club focussed music on the stunning 'Ringer' EP. The single, 'Love Cry', announced the return of Four Tet in spectacular fashion, setting dancefloors alight.
Have You In My Wilderness is Julia Holter’s most intimate album yet, a collection of radiant ballads. Her follow-up to 2013’s widely celebrated Loud City Song explores love, trust, and power in human relationships. While love songs are familiar fodder in pop music, Holter manages to stay fascinatingly oblique and enigmatic on her new album. Have You in My Wilderness is also Holter’s most sonically intimate album. Here, she and producer Cole Marsden Greif-Neill lift her voice out of the layers of smeared, hazy effects, putting her vocals front and center in the mix. The result is striking—it sounds as if Holter is singing right in your ear. It sounds clear and vivid, but also disarmingly personal. The focused warm sound and instrumentation — dense strings, subtle synth pads — adds to the effect. Like Holter’s previous albums, Have You in My Wilderness is multi-layered and texturally rich, featuring an array of electronic and acoustic instruments played by an ensemble of gifted Los Angeles musicians. Have You In My Wilderness deals with dark themes, but it also features some of the most sublime and transcendent music Holter has ever written. The ten songs on the album are shimmering and dreamlike, wandering the liminal space between the conscious and the subconscious.
The 21th of May 2013 will see the much anticipated Domino vinyl re-issue of Tragedy - the hugely celebrated, long out-of-print and intensely coveted debut album by Los Angeles based artist Julia Holter. Originally released in two runs of five hundred copies only on Los Angeles label Leaving Records in November 2011, Tragedy proved to be that year's most captivating, adventurous and inspired debut album and announced the arrival of a major new talent. Inspired by Euripides' Hippolytus, the sheer scope and scale of ambition evident in Tragedy's fifty minutes is staggering. Comprised of voice, synths, drum machines, piano, cello, saxophone, samples, vocoders, ensemble musicians and a chorus, Tragedy is a transcendental amalgamation of avant garde and pop conventions and of organic and electronic compositional forms - an entire universe of a record blessed with its own beautifully peculiar logic.
Domino is pleased to announce the release of Panda Bear Meets The Grim Reaper, the fifth studio album from Animal Collective founding member and critically acclaimed solo artist Noah Lennox aka Panda Bear. Lennox has had a far-from-quiet few years with the release of his fourth solo record, 2011’s Tomboy. Since the breakout success of 2007’s universally-adored Person Pitch, each new Panda Bear release is a highly anticipated event, and with a high-profile Daft Punk collaboration also under his belt (“Doin’ It Right,” from 2013’s Random Access Memories), that’s more the case than ever. Panda Bear Meets The Grim Reaper finds our hero leaving the airy minimalism of Tomboy and unpacking his sonic toolbox again, rearranging the multitude of his disparate influences into the ever-morphing concoction he refers to as “the soup.” Old school hip-hop textures and production techniques meld with the intuitive, cyclical melodies he has become known for a sound that is at once dense and playful. The album signifies a pivotal point for an artist who has proven he can continue to evolve while remaining at the top of his game. As Lennox says, “It’s sort of marking change - not necessarily an absolute death, but the ending of something, and hopefully the beginning of something else.” This standard 2LP edition of Panda Bear Meets The Grim Reaper includes the album on heavyweight vinyl in a deluxe gatefold jacket and includes an MP3 download card.
The Last Shadow Puppets return with their new album Everything You’ve Come To Expect. The album finds Alex Turner (Arctic Monkeys) and Miles Kane reunited with James Ford (production and drums), Owen Pallett (string arrangements) and Zachary Dawes (Mini Mansions) on bass, recording the follow up to 2008’s The Age Of The Understatement at Shangri-La Studio in Malibu. Suffice it to say that other obligations came between The Age of Understatement and its sophomore successor, not least the unstoppable rise of Turner’s Arctic Monkeys, who released not one but three hugely successful albums between 2008 and 2013. Neither Kane nor Turner ever intended to put the Puppets on the back burner where so many “side projects” languish in perpepuity: the creative outlet that the act offered to the two friends was far too important for that. Just as The Age of Understatement enabled the duo to explore an all-but-forgotten world of epic ‘60s pop that contrasted starkly with the indie guitar-rock template of the Monkeys and the Rascals, so the second coming of the Shadow Puppets has given Kane and Turner new avenues that veer radically away from their other work. Everything You’ve Come To Expect is a more open and expansive work than its predecessor, wearing its influences less obviously on its sleeve – by turns the album is soaring, snarling and breathlessly seductive.
Deluxe CD is a one time pressing featuring a hardbook pack; 40 page booklet containing exclusive photographs.The Last Shadow Puppets return with their new album Everything You’ve Come To Expect. The album finds Alex Turner (Arctic Monkeys) and Miles Kane reunited with James Ford (production and drums), Owen Pallett (string arrangements) and Zachary Dawes (Mini Mansions) on bass, recording the follow up to 2008’s The Age Of The Understatement at Shangri-La Studio in Malibu. Suffice it to say that other obligations came between The Age of Understatement and its sophomore successor, not least the unstoppable rise of Turner’s Arctic Monkeys, who released not one but three hugely successful albums between 2008 and 2013. Neither Kane nor Turner ever intended to put the Puppets on the back burner where so many “side projects” languish in perpepuity: the creative outlet that the act offered to the two friends was far too important for that. Just as The Age of Understatement enabled the duo to explore an all-but-forgotten world of epic ‘60s pop that contrasted starkly with the indie guitar-rock template of the Monkeys and the Rascals, so the second coming of the Shadow Puppets has given Kane and Turner new avenues that veer radically away from their other work. Everything You’ve Come To Expect is a more open and expansive work than its predecessor, wearing its influences less obviously on its sleeve – by turns the album is soaring, snarling and breathlessly seductive.
Potential is the new album from producer James Hinton under his alias of The Range. The magic of Potential - his first album for Domino, following 2013's Nonfiction - is as a document of its time. The Range has made an electronic record inspired by Baltimore club, early ‘00s grime and mid ‘00s electronica, but also as a member of the last generation that will remember going online for the first time. As its backbone, Potential utilizes a series of vocal samples that Hinton found in the deep corners of YouTube, introducing us to unknown artists expressing themselves unfettered by the constraints of industry. He might be fascinated by the code that determines his YouTube searches, but what truly grips him are the human stories behind the samples. Hinton explains, "I found each person by using a small set of search terms on YouTube. Each song is inextricably linked to the point in time that I came across each video. I endeavored to tie the songs of Potential together by telling my own story alongside the stories of the people I sampled. Every song tries to acknowledge a sense of vulnerability or difficulty in life, as well as an intense drive to cope with problems in ways that don't drag you into the abyss." In addition to the forthcoming album Potential, a documentary titled Superimpose, directed by Daniel Kaufman, out this spring, will look at the human stories behind the unknown artists included on the album. As Hinton states, "I am very conscious that these people who I have sampled elevate what I do, just as much as my record brings their work somewhere else."
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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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