Following his most recent LP, A Mineral Love, Bibio brings fans a new collection of songs, featuring vocals from Olivier St Louis. Available on a limited run of clear vinyl this The Serious EP is a collection of four chilled out, soulful tracks sure to delight!
Features: MoonDoctor, OPN, Taso, DJ Manny, DJ Taye, and Suzi Analogue. Cover art by Shepard Fairey and Ashes57. DJ Earl lays down expertly crafted footwork rhythms filled with wave-y synths and killer vocal hooks. Every track on Open Your Eyes is a collaboration, DJ Earl teams up with other Teklife members from his native Chicago and beyond. A leading figure in the footwork movement, and long-time collaborator with DJ Rashad, DJ Earl is a key member of the Teklife family. Open Your Eyes is a brutally strong EP filled with future classics.
Pional’s latest EP, and his first for Counter Records, marks something of a breakthrough for the young Spanish producer. After a productive few years, which have seen him tour with frequent production collaborator John Talabot, which won a slot in Resident Advisor’s coveted Best 20 Live Acts. He also toured with musical like-minds The XX & released an EP with Young Turks. When Love Hurts arrives as not only his most personal work to date, but his best. Inspired by love and loss, this four track collection is the result of Pional finding the confidence to add pop melodies and his own vocals to his deep, compulsive electronics. The result brings to mind New Order reimagined by Zomby, or some of Metronomy’s finest moments. ‘Casualty,’ ‘Of My Mind’ and ‘As Time Was Passing By,’ all vocalled by the young Madrid musician, play out as the anatomy of a breakup. When ‘The Way You Like’ closes out the collection, Empress Of’s featuring vocal provides a startling epilogue to this brilliant EP.
Promises is the introduction to a fresh chapter in the story of Entrance. Entrance is the multi-talented singer-songwriter Guy Blakeslee. An artist’s artist, Entrance is a musician with the blues running through his veins. His newest creations add up to a set of rich, cinematic songs featuring expansive orchestration and imaginative story telling, as unique to himself as they are, at times, evocative of Townes Van Zandt, Scott Walker and Gene Clark. Among his fans, he counts the likes of Spike Jonze, who featured Entrance’s interpretation of Skip James’ “I’m So Glad” in the film Her. Continuing in this vein, his Thrill Jockey debut is the emotive production Promises. As with all new beginnings, there is an element of return. Resurrecting the name Entrance signifies leaving something behind. This time around, the sound of Entrance dramatizes the tension between time as measured on a clock and the felt experience of it. Everything has been stripped away except the essential: the focus is on the voice- the words and the feeling. I’m interested in communicating a shared universal experience in an era when “individuality” is a championed product. I once approached songwriting as a coping mechanism for my own personal struggles. However, now I have shifted my focus to the exploration of a collective understanding. The whole record is about the interplay and conflict between inwardness and outwardness, revealed as a personal obsession through a rigorous daily practice of automatic writing. Waking up and immediately documenting the intricacies of my mental world has shown me what a freak I am - but also what I care about. “Promises” in particular was inspired by Stephen Hawking, who in spite of being the acknowledged expert on the nature of time, still constantly changes his views and has to admit he doesn’t really understand it. Time is a constant contradiction in all of our lives. We have to live within its bounds, and yet experience it in myriad ways, marking our milestones on cross cultural calendars, in disparate time zones. Such paradoxes were on my mind when I wrote the lyrics. “time is a cruel yet forgiving friend who slaps your face and then holds your hand leaves you starting from scratch all over again in the ruins of your best laid plans”
Surprise beat tape from Damu the Fudgemunk, Untitled Volume 2, a 12” picture disc. This marks the second installment in Damu’s Untitled series following the release of Volume 1 in July. In a nutshell, Untitled Volume 2 is a collection of music Damu assembled specifically for his longtime fans. All of the music / versions showcased on Untitled Volume has never been officially released, yet some of it may have been exposed over the years from various live videos, through word of mouth and a couple leaked mp3’s. The project was curated by Damu with the intention of packaging some of his most personally dear and sought after work on one title. If you have been following the Fudgemunk and Redef for the last decade, then the assembled music should immediately remind you of the journey. Also available on Cassette as Untitled Vol 1 & 2 with a bonus track.
17 years since the inception of the group, the duo’s tenth project reflects back on the path less traveled and distills their unique blend of funk into this - the second of a series of 6 song EP’s that outline their long journey to arrive at The Gettin’ Off Stage. Join the duo as they resurrect for an encore after a very real run in with mortality. Super high quality, deluxe packaging via a collaboration / joint venture between Redefinition Records & Thes One’s Piecelock70!
This 4-track EP looks back at the post-disco boogie sound while steadfastly looking to the future. Working with producers Isaac Gálvez, Taste Nasa and Rollergirl!, Boulevards has delivered on his promise for party jams. The infectious two-minute incessant bass hook of "Got to Go," the future electro of "Forgot to Mention," the mid-tempo groove of "Honesty" and the Bootsy Collins-meets-Quincy Jones-in-2015 attack of "Sanity" lay down the template for the Shape of Funk to Come. And the funk to come will be Boulevards.
The “Street Player” EP covers and reimagines the Disco classic originally made famous by Chicago, and later sampled and turned into a House classic by Kenny Dope & The Bucketheads. With the help of the UK’s Colonel Red on all leading vocals, Liquid Beat’s crew of in-house producers each recreated unique covers of “Street Player” in their own signature styles. Label head Matt Nelkin’s version of “Street Player” is a tight, streamlined adaptation of the original that uses live players to add an updated soul and funk feel. Prolific producer HOT16 offers up a New Funk twist with intricate drum machine work, bass, guitar, and synths replacing the iconic horn lines perfectly. Roane Namuh on the other hand gives the whole composition a makeover transforming the track into a soulful Deep House groove with Colonel Red matching the lyrics perfectly around the rhythms. And lastly, Liquid Beat newcomer DaiN turns in an original, new school R&B styled composition that works as a culminating meditation on the Street Player theme. The “Street Player” EP was truly a labor of love by the entire Liquid Beat crew and is aimed strictly at DJs and music lovers with a passion for the past and an eye towards the future. Anyone who is familiar with the original version will find this release to be a welcome alternate and a sure shot crate staple.
A collection of songs from the album “Blood” but interpreted completely solo – just by Lianne and a series of guitars.
This is the first collabo release between the legendary Tru Thoughts record Label & Vinyl Digital. Currently on Tour with incredible Bonobo, this release marks the Vinyl Debut of Werkha. Call it Bass Music, call it Post-Dubstep or just good & innovative music! With five unshakable tracks that fizz with energy, mixing up the tempos and blending nuanced live instrumentation with grin-inducing and eminently danceable beats and melodies, “Beacons” is sure to see Werkha rising further up the ones-to-watch lists, after a big 2013 which saw his reputation spread swiftly. Werkha is the project of Manchester based musician and producer Tom A. Leah. With his debut EP, “Cube & Puzzle” (Cool Kid Music) in late 2012, his refreshing style gained him over 300,000 video hits and widespread tastemaker support. In addition to BBC 6Music play and Worldwide blog coverage, Gilles Peterson also picked an upfront track, “Sidesteppin’ feat. Bryony Jarman-Pinto”, for a Brownswood Bubblers compilation. Festival sets including Latitude and , and regular spots at the likes of Fabric, all added to Werkha’s profile; and a remix for Dutch Uncles’ single “Fester” (Memphis Industries) also helped to introduce his production style to the masses.
New Jersey duo K-Def & DaCapo are 'The Program' and Slice Of Spice have teamed up with them to release some incredible material recorded between 2007-09. From 'The Article EP', which was advertised in record stores back in 2008 but never released, to the unheard Instrumental Versions, to the expanded CD version including x4 Bonus Tracks! 'The Program Project' is not only bringing you some unreleased K-Def heat, it's bringing it bigger than originally intended.
John Frusciante's Foregrow doesn't sound like any Acid Test record, or any other record. After the unlikely alliance between the Los Angeles label and the iconoclastic Venice, CA musician, all bets are off. This one's truly a passage through night. Foregrow is a lurching, lysergic beauty which offers glimpses of his platinum pop instincts, but only behind the veil of true experimentalism.
Dosh & Ghostband soundtrack the most indescribable dance party you’ve ever attended. The sort of phenomena where your friend asks the next day what the music sounded like, and you vainly search a thousand different adjectives before discovering that none seem accurate. All that matters was that you had one of the best times of your life and never stopped moving. Things have gotten easier for us. We live in a world where you can now just play Def Kith II: The Price is Ill to answer the equation. After all, if you traveled back two decades and asked DJs to predict the future of sound, the guesses would probably come out something like this four song, 38-minute odyssey, released on Anticon. There are the sleek glides of Krautrock, the chromatic grit of Detroit techno, the liquid freedom of improvised jazz, the loop-digging hypnosis of raw boom-bap, the cerebral float of IDM, and the fusion shock of the new. Minneapolis multi-instrumentalist producers Martin Dosh and Jon “Ghostband” Davis have forged a rumbling and burrowing, lightless and electrified, claustrophobic and wide-open, metallic and shimmering saga. A mess of contradictions that always becomes clear around the next musical curve. It’s sculpted for crumbling warehouses outfitted with blistering subwoofers and headphone treks through the city at night. The four songs—“Produce Section,” “Shish Kebob,” “Chopping Spree,” and “Kool-Aid”—comprise their own gestalt. Removing one is like chopping off a leg. These are electronic loops with subtle flourishes, built on movement and variation, long forms and intervals – a collection of small moments that build to delirious conclusions. Both producers have built revered solo catalogues over the last decade, but this formation yields something entirely new. The ideas and influences of the long-time collaborators are chopped and synthesized, merging Herbie Hancock and Caribou, Squarepusher and Wu-Tang, The Meters and Medeski, Martin & Wood. The result is weird dance music that never fails to live up to its initial reason for being: you are supposed to dance to it; you have to dance to it. Dosh and Davis have wrought something immediate and raw. It was knocked out in four days and mirrors the sort of sleepless euphoria that such a creative process renders. It feels intuitive and loose. It’s heady without being cold. It’s anchored by the four to the floor but has a crafty intelligence to the design. Consider it dance music that overachieves rather than IDM that fails. It’s Def Kith II, a synthesis of visceral grooves and the unknown.
Seven Davis Jr continues his intergalactic voyage, picking up the thread from his debut album "Universes" and collating four stellar trax under the title: "Dancing On The Sun". The title track and it's partner remix 'See The Light' are superb examples of SDJR at his tracky best: a pair of rough 'n' ready and wildly jackin' - but oh-so-sweetly swung - four-to-the-floor grooves. Also aimed squarely at the dancefloor, 'Church' marries dayglo synth stabs with a mighty, clattering drum track and gospel vox. Rounding off the EP, 'Spliffs' slows the tempo down to a thick, woozy, phased-out hip-hop funk. Further proof, if you needed it, that SDJR travelled here from another planet to show us a different way.
Kindred spirits Boards of Canada and Teebs make an appearance in dreamy collaboration with Odd Nosdam's Sisters Remix EP. Throughout, the producers split time between cosmic, slow burning beats and reflective soundscapes littered with intriguing textures and mind-bending samples. Analogue sounds are generous and knowingly manipulated. Gorgeous samples are deployed, sturdy yet emotional. Cymbals explode. "When the sun finally breaks through on an overcast day, Sisters was very much inspired by that wonderful moment… and the longing for it."
Limited to 500 copies on "Easter Yellow" colored vinyl, includes vinyl-exclusive instrumentals and acapella versions. In 2013, underground rap heavyweights Blu and Nottz teamed up for 'Gods In The Spirit,' one of the year’s most critically adored EPs. And upon its release, the duo made it clear they weren’t done there, but they also weren’t about to rush their follow-up. As much as fans clamored for its release, Blu and Nottz earned the ability to take their time with their sophomore effort. And that's evident throughout 'Titans In The Flesh,' which builds on its predecessor and proudly stands on its shoulders. Like 'Gods,' 'Titans' finds the Ca-Va connection keeping things concise and cohesive. They’ve delivered six tracks of original, brand-new material that slaps and bumps as much as it pours over with lyrical brilliance. Of course, that won’t surprise any longtime fans of either artist, both of whom have been steadily making their mark since first emerging on the scene (2003 for Blu, and 1998 for Nottz). Blu and Nottz are two of the most prolific and valued cultural contributors of their respective trades, and it’s while working together that the two make some of their most triumphant and powerful music. You hear that immediately on chest-pounding opener "The Truth," the pure funk of "Heaven on Earth," and the beyond-slick rhyming and crazy drums of "The Man." Speaking of “The Man,” Nottz steps to the mic as he closes out the track following a clever verse from Blu’s day one beat conductor, Exile. Elsewhere, Blu is joined on the mic by hard-hitting trio Bishop Lamont, Torae, and Skyzoo on “Giant Steps,” which boasts cuts from the remarkable DJ Revolution, while singer Shateish appears on soulful opener “The Truth.” Blu then sits it out on “To The East,” as he lets Definite, TriState, Mickey Factz, and Johaz command the bruising track. And as a bonus, the EP boasts a colossal flip of “Atlantis,” courtesy of J57 on production, with Akie Bermiss belting out a fiery hook. 'Titans In The Flesh' becomes available in limited supply on Easter-yellow vinyl on July 15, via Coalmine Records. Vinyl edition comes equipped with the instrumental and acapella passes of “The Man,” and the instrumental for “Heaven on Earth.”
The new EP Crime Cutz is the first new original Holy Ghost! music since the NYC-based duo of Nick Millhiser and Alex Frankel released their sophomore album 2013’s Dynamics. As with most of their catalog, “Crime Cutz” benefits from Holy Ghost!’s insistence on tactile instrumentation with live drums recorded over the track to accelerate its tempo. The duo are quite methodical in their output—shimmering bursts of disco, synth-pop, and lingering grooves—but that doesn’t mean Holy Ghost! is not prodigious. Over nearly a decade, they have gone from being DFA’s rising sons to triple threats: indefatigable DJs, producers remixing new life into the work of Cut Copy and Katy Perry alike, and inventive musicians who’ve released countless original singles. They’re again adding to their thinking-man’s dance repertoire with the vibrant Crime Cutz EP out on DFA Records.
The Aphex Twin Cheetah EP uses digital sound generation techniques combined with wave sequencing technology to bring you sounds with movement and depth rarely found on records today. To assure you that your Cheetah EP will give you many years of enjoyment, please be sure to read the owners manual carefully before attempting to operate the Cheetah EP. All forms of Cheetah EP come encased in high gloss packaging with silver foil detailing to ensure a high quality product experience. We sincerely hope that having battled through the programming of the Cheetah EP, you have now become familiar with the exceptional potential of this record.
To accompany The Enforcers long lost soundtrack, “The Jersey Connection”, is K-Def’s instrumental score on wax. Pressed in very limited numbers, so grab yours while you can.
The instrumental versions of Jeru The Damaja’s, The Hammer, are now available as a very limited edition vinyl press. Featuring Production by Large Professor, Junkyard Juju, OSTR, P.F. Cuttin and Sabor. Grab yours while you can!
Slice Of Spice has teamed up with Jeru The Damaja to bring everyone his 2014 project, The Hammer, on wax.This limited edition press features updated art with gold foil detailing. Featuring guest vocals and production from the likes of The Beatnuts and Large Professor, you already know Jeru’s taken hip hop back!
Rough Trade re-release Exquisite Corpse EP, the L.A. band's playful dynamism the band is notorious for creating live. Warpaint weave majestic, haiku-like guitars, hypnotic vocals and driving post-punk rhythms into gorgeous, sprawling songs that skirt the line between the soundscapes of Psychedelia / Shoegaze, the haunting intimacy of Folk and Rock's primal heaviness. Includes the seminal track "Billie Holiday".
Floating Points – also known as Sam Shepherd – has announced Kuiper, which comes after last year’s critically acclaimed debut album ‘Elaenia’. Out July 22nd on Luaka Bop, Kuiper features two tracks but over 30 minutes of music. Speaking about the new release, Shepherd says: “Since starting a band to realize the music from my LP, it has sparked a deep interest in the band itself, and so Kuiper is the result of playing with Leo, Alex and Susumu. Each time we play it, it's completely different. We set the scene with electronics, and some drum machines that form the foundation to allow the unfurling of the rest of the track. The version on this EP – believe it or not – was recorded at 8am! The other side – ‘For Marmish Part II’ – is carbon dated by my singing voice. I can’t get that high anymore! It was recorded way before ‘ For Marmish’ on the album but the two tracks happened to be written around the same time. I want to share them because both sides reflect in two tracks where I was right at the start of the Elaenia project, right up to now post-LP release, playing live and going on the road with a band. I hope, like I feel, people will find a common strand in the hypnotic nature of both tracks.“
Londoner Endgame is a new addition to the Hyperdub roster after releases on Lisbon’s Golden Mist Records, and NYC-based Purple Tapes Pedigree. Endgame hosts an excellent monthly show ‘Precious Metals’ on NTS and produces and DJs as part of the Bala Club crew, and he already has mixes and features with the likes of the Fader, Fact, Dazed and Confused and ID under his belt in the short time he’s been releasing music. In his ice-cold productions, Drill, Grime and most notably South American dance riddims are threaded and mutated into tracks that he describes as an ever-evolving vision of the dystopian underbelly of London. ‘Felony Riddim’ is an icy introduction to the EP, an explosive club jam with a menacing and stabbing chime melody leading up to a pounding kick drum. It’s all out war, but you can definitely roll your hips to it. ‘Sittin’ Here Redux’ recasts Dizzie Rascal’s ‘Boy In Da Corner’ opener into a tense anthem, with police sirens wailing in the background, dogs barking, and rolling 808 snares that bring a vibe somewhere between reggaeton and drill. Next up is ‘Fallen’ featuring the MC Organ Tapes - a slow burner that works both as a moody headphone track or a club slow jam. Organ Tapes’ slurred autotuned vocals flow perfectly with Endgame’s blend of grime drums and chiming rap production. The EP finishes as it began, going out with the explosive and high-energy ‘Toxic Riddim’. It’s a mix of reggaeton and futurist dancehall, with a menacing melody and relentless electric shock-like hi hats across a deep sub. Endgame takes you all around the world - but the ice-cold tone unmistakably brings you right back to winding in a dark club in London's culture clash.
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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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