Taking one more lap after the finish line, Junior Boys are releasing the Kiss Me All Night EP to cap off their busiest year ever. In addition to releasing the critically acclaimed album Big Black Coat (City Slang Records) Junior Boys' Jeremy Greenspan also released the album Oh No with his collaborator Jessy Lanza (Hyperdub Records) and the But Wait There's More EP with Borys (Jiaolong Records). Now, just in time for an extended US tour in September and October as well as additional European dates, Junior Boys return with brand new material. The ep starts with two extraordinary retro-futuristic club bangers, "Yes“ and "Babyfat.“ It also includes a staple of their live set, the John Martyn cover "Some People Are Crazy,“ and is rounded off by the Paisley Park infused title track "Kiss Me All Night.” Like the end of a long race, it’s hard to come to complete stop. After all of these projects were finished and realized, the compulsion to keep working and working remained. Kiss Me All Night is a kind of amalgam of all of the different projects. It combines the techno production technique of the Jiaolong work, the experimental pop of Jessy Lanza and the subtle fragility of Junior Boys' oldest material. Kiss Me All Night is a final kiss to the year that was.
After spending the past three years cutting acclaimed records for such esteemed imprints as Innervisions, Hotflush, and Acid Test, Recondite has rejoined the Ghostly International fold with an EP that builds on the robust field recordings and pale, moonlit melodies of the Berlin producer's breakthrough LP Hinterland. Named after the foreboding family of birds that includes ravens and crows, Corvus is a chilling listen inspired by everything from The Revenant's Ryuichi Sakamoto soundtrack to Max Frisch's heady novel Homo Faber. After all - the Rottal-Inn native insists there's a light at the end of this particular tunnel. Or as he puts it, "Melancholic doesn't necessarily mean dark. Music can be happy and moody."
Deep in the city of Porto Portugal, lives the unique,deep groove floating dialogue of a modern funk artist known as SAIR. His debut self-titled album displays his natural ability to let the groove unfold in his arrangements. In a landscape of rising G Funk arrangements, SAIR's peeks through the horizon with an EP woven together with as many natural drum arrangements as there are programmed drum arrangements, giving listeners a diversity we haven't heard much of since post disco's golden era of 1980-83. SAIR's songwriting ability moves the conversation forward with intricate drum arrangements framing beautiful chords and passionate synths, that give SAIR a voice that will move many in the worldwide community of modern funk and beyond.
Superstructure has been blessing the world for 15+ years with underground cassette tape's and limited 7 inch records that have most likely been in your favorite producers collection since day one. Superstructure now unearths SUPERPOSITION, a six song EP guiding us through a secret valley of gems displaying his multifaceted songwriting ability, proving there is so much more to be seen in the landscape of modernfunk. Sonically baptizing listeners with sophisticated and intricate synthesizer arrangements before for carrying them on the backs of warm bass-lines through a journey of drums, where no detail is to be spared. The mechanics of SUPERSTRUCTURE immerses listeners in heady chords before ascension into dimensions previously unseen, giving listeners a perspective not to be scene but heard that transforms consciousness into its SUPERPOSITION.
After a series of great releases in 2015 Red Apples 45 is proud to release another piece to the catalogue, This time bringing it all the way back home to the Bronx with one half of The Ghetto Dwellas & DITC affiliate D-Flow. Pairing the MC with the Red Apples 45 own, producer Ray West they bring you “Three Sides To Every Coin.” Not only a play on words but some insight into the fast pace hustle of NYC’s paper chase. There are many reasons one would strive to get ahead in this town & in this Ep D-Flow breaks down 3 different reasons why one would strive. Hence “Three Sides to Every Coin” Released on 12 inch vinyl. Mixed By Dave Dar , Executive producer AG of DITC & Art work by the legendary Joe Buck the record Contains 3 full songs, 2 instrumentals & one 7 minute instrumental piece by Ray West titled Soliloquy.
Limited to 500. A 60 min Cassette Mix by Randy Hotthobo with a Two Step Boogie A Side and a Sweet Soul B Side. Artwork by Dyami O’Brien.
French producer Hugo LX returns with a new EP called “Ascent” out on Menace, 8 beautiful beats made with an incredible precision. Hugo LX has been working in past with Elzhi, Large Professor, Homeboy Sandman, Oddisse, Sadat X, The Funk League, he is also known as a really good house producer, he proved that again with his recent releases on Faces Records, Jazzy Couscous or My Love is Underground. This release represent our first collaboration with the legendary Fatbeats. Words of the artist : This batch of music pieces is what happened during this hot, dark and rainy summer, when the phone didn’t ring anymore and nobody would take time to return my calls. It is dedicated to all my fellow musicians and beatsmiths who endured long invisibleness before finally enjoying some success. A thought for the late great Q, you were there, you keep on being here, One for my friends and brothers, we been through a lot. One for Ms. S.Q, thanks for the poetry. One for the Kojo-Chin’s, you became my family.
Long-awaited, heavily anticipated collaboration between Los Angeles based kindred spirits, Nite-Jewel and Dam-Funk. As proclaimed by Pitchfork, the joint-effort is "lightning in a bottle", garnering their coveted "Best New Track" for the lead-single "Let Me Be Me". The initial digital-only released charted an impressive peak position of #17 in the Electronic Music charts on Billboard. With Nite-Funk's debut EP, the two beloved artists bring the best out of one another in this very special release. Originally mastered by the icon music-engineer Francois Kevorkian with additional mixing and production by Grammy Award winner Cole MGN.
Planet Mu are honoured to be invited to look back through RP Boo’s archives and present the cornerstones of his style, which would emerge from Chicago's Ghetto House in the late nineties and develop into the genre of Footwork.These six minimal, repetitious rhythm tracks weren't officially released at the time, with the exception of the original version of ’11-47-99’ (The Godzilla Track) which came out under DJ Slugo's name in 2001, but was actually written and produced by RP Boo. Others were white labels for Dance Mania, never fully released, but which are remembered locally as key tracks in the cementing of the genre at the end of the nineties.’Baby Come On’, often cited as the first ever Footwork track, was recorded back in 1997 – says RP Boo "I got the idea from a Radio DJ who was going nuts over the phrase, and I got busy on the R-70, which I had just started to use, to create the track – it got played out at the clubs and the DJ’s and dancers loved it!" The sample has since become a Footwork staple and almost every producer has made their own version of it.’Party Motion’, built around vocal samples looped into angular patterns and offbeats over a sharp drum machine, was first played at a gym room party in 1998 and got its name from another footwork original – Traxman.‘02-52-03’ is a remix of the classic ‘11-47-99’ (The Godzilla Track). It is so named because February = 02, 52 = The 52 Hundred Street RP lived on at the time and 03 is the date the remix was made, February 3rd 2003.‘Night & Day‘, made in 1999, further develops the footwork template with relentless toms and demented pitch shifted vocals. It is the most notable of RP’s many songs that sample Larry Levan favourite, Class Action’s ‘Weekend‘. Since then, snippets of that song have sneaked into many of RP’s production as something of a camouflaged signature.‘Try To Break (Original)‘. From 1997, this is another track that made use of a chipmunked sample from ‘Weekend’ combined with harmonies and looped into a rushing phrase. Originally this was broken in Club Cavallini's, Chicago where it was a very popular club track.‘Try To Break (Remix)‘. This is a 1998 remix that was put on the legendary Chicago mixtape that RP Boo and DJ Rashad made called ‘No-Edits-Allowed‘ in 1999.
Monster Collab of Detroit representive Guilty Simpson & Westcost Cali Agent Rasco.
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!
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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.
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.
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.
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.”
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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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