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.
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.”
Snails is the second EP and third release by American rock band The Format. The EP was created to be sold at shows while The Format were on tour with Taking Back Sunday and Jimmy Eat World.
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".
Inkke’s debut EP 'Secret Palace' for LuckyMe is a hard and brash instrumental club record that embodies the DIY spirit of the young producer recognised for his grime and low slung, Memphis rap references and anthemic sound. Coming from the same Glasgow club scene that birthed Hudson Mohawke, Rustie and S-Type, Inkke’s (aka Russell Patterson) recent collaboration with Novelist “Mmm Yeah” alongside vocal throw downs from Skepta, D-Double E and Rapid on the EP’s “Simmer” has cemented his beats as future grime rhythms. With ‘Secret Palace’ however, Inkke has delivered his most developed release to date, opening with the Hans Zimmer-esque “New Day Theme”, followed by the heavyweight dance floor tracks and clinical club anthems “Chores and “Tales from the Quick” and “Sorry”. Inkke made his name by servicing prolific bundles of music direct to DJs whilst also running his acclaimed FWDK night at Glasgow School of Art and his past releases include “Crystal Children” EP on Local Action, “Faded With The Kittens” beat tape on Astral Black and tracks on the Mumdance & Logos “Weightless” compilation alongside Big Dada’s “Grime 2.0”.
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.
Written and recorded at the same time as their recent full-length Split Stones, the New Varieties EP continues Lymbyc Systym’s exploration of the power of disparate halves coming together to form a unique whole. The idea serves as an analogy for brothers Jared and Mike Bell's long-distance relationship, as well as their compositions—a unique synthesis of live emotion and electronic precision. Picking up where their last album left o, the EP’s upbeat opening track “Opposing Bodies” features the same melody found on “Scientic Romance”, the nal song on Split Stones. Exploring darker and more introspective territory, “Dierential” features big reverberating snare hits, emulating the crack of a whip often heard in old Spaghetti Westerns. On the album’s anthemic title track “New Varieties,” the band brings back their powerful Clavinet sound paired against Brazilian influenced rhythms and cascading piano lines. Interestingly, to create the lead melodies on all three tracks, they initially wrote and recorded one melody, and then chopped and rearranged each one to create a new melody. As Jared explains, “The lead lines emphasize a strong vocal quality, but with a bit too much diverse movement. If you tried to sing it, it would come out feeling chaotic—in essence, somewhere halfway between something human and machine.” Throughout New Varieties, Lymbyc Systym's unique balance of organic and synthetic elements has led them to create some of the most emotional and mature material of their career. The EP closes with Austin-based producer Botany's remix of "Opposing Bodies," turning Lymbyc's clean, head-bobbing rhythms and infectious arpeggios into a gauzy, mindbending soundscape of smeared textures and chaotic rhythms.
Things happen fast these days. So fast in the case of Kllo that the Melbourne duo barely had a Facebook page or a proper song before a wave of interest began to build around their breakthrough EP Cusp. What a telling record title; in the year since its release, cousins Simon Lam and Chloe Kaul have played sold-out shows and festival slots throughout Australia, racked up millions of plays on Spotify, and landed on several Artists to Watch lists. Now they're about to chase steely pop singles like "False Calls" and "Make Me Wonder" with the next logical step: Well Worn, an EP that enhances Kllo's high-gloss hooks even further.
Harlem Veteran Vast Aire of Cannibal Ox fame teams up with Brooklyn producer Raticus on "The Heir Vast,” which is packed with six Boom Bap Golden Era Hip Hop songs (9 total tracks 3 interludes), for the diehard Boom Bap Hip Hop fans. Raticus has composed the theme music for this lyrical demonstration, along with abstract interludes and scratching to add to the ambience. Taking from his years of experience working with many independent labels (Da Shaüp Productions, Yosumi Records) and several underground artists (Kil Ripkin of the Coalescence, Ruste Juxxe, FT Street Smartz, Haziq Ali, Sean P, Lace Da Booms) Raticus provides you another Hip Hop album staying true to his Brooklyn roots.
Clear smoke vinyl, packaged in silver-ink foil jacket Bass assassin dream team Alix Perez and EPROM debut Shades, a commanding new EP on Alpha Pup Records. Fresh and dynamic, the four-track release tickles the limbic system with gravity-distorting bass and inspired hooks. “The Serpent” cuts a swathe through the dance floor, underpinned by an imperious, gritty bassline, replete with head-turning percussion cuts. The back-swung “Chiron"" cloaks a devious, neck-snapping riff in warped melodic deviations. Woozy percussion sits aloft an unsettled slab of electric bassweight on ""Minotaur"". And “Into Light” juxtaposes glory-era rave power chords and arpeggios against echoes of g-funk and hyphy - culminating in a tuned-up footwork flex-out. Vivid. Searing. Groundbreaking. Shades is a gripping release by two masters of their craft.
Nicky Benedek was born and bred to funk in the City of Angels. He spent his early creative energy observing and integrating outsider dance and funk scenes in underground music culture into his own breed of production for his first full-length on the influential PPU label. His compositions carry the torch of funk into the wondrous and nebulous territories of house, boogie, hip-hop, jazz-fusion, and experimental new age. With an arsenal of analog synthesizers, drum machines, and electric guitars, he’s making moves in the L.A. underground by welcomed way of Funkmosphere, Dublab, and Leaving Records community with a strong strut.
Many musicians speak of their versatility, but few can boast an MPhil from Cambridge specialising in African history, work in human rights law (predominately in South Africa) and enviable sonic CVs among their caches. Yet such is the extraordinary makeup of London-based Throwing Shade, aka Nabihah Iqbal, a rising producer and NTS Radio host whose House of Silk EP will be released via Ninja Tune on 4th March. Having debuted on Kassem Mosse’s Ominira imprint and followed suit with releases for No Pain In Pop (Patten, Grimes, Forest Swords) and Happy Skull, Throwing Shade continues her patchwork of peripheral pop over five new tunes. Leading track “hashtag IRL” is a nod to what she calls the ironic “anti-social reality of social media,” full of digital glitter and contemporary colloquialisms but pervaded by an uncanny emptiness too. The “repetitive, robotic and melancholy vocals” to her "symbolize the relentlessness with which the internet now dictates our lives…our thoughts are watered down to a common denominator of hashtags, selfies and internet-speak acronyms.” While “hashtag IRL" exemplifies her voice, tapped by SOPHIE for breakout track “Lemonade” and most recent single “L.O.V.E.,” the rest of the EP focuses squarely on her multifaceted production skills, lightfootedly gliding on “Marble Air,” nodding to ‘80s cinema on “Ecco Echo,” compelling idle feet to dance on “Fear of Silence” and slipping through the haze of half-sleep on “Underneath My Eyelids.”
Adult Jazz first appeared back in 2013, amid a flurry of praise surrounding their joyous and addictive debut single 'Springful'. Their unanimously acclaimed debut album Gist Is followed in 2014, self-released on their label Spare Thought, with The Sunday Times calling it "utterly riveting" and the NME and The Line Of Best Fit both naming it their album of the week. Gist Is was a startling and mesmerising voyage from start to finish, taking a labyrinthian, fragmented pop-not-pop path, incorporating songs within songs, while maintaining a sense of humour through some of its complex themes surrounding religion, gender and humanity. Following the release of Gist Is, the band went on to play sell out tours around Europe as well as festivals including Latitude, End of The Road, CMJ and Iceland Airways. The latter was attended by none other than Bjork, who was moved to write about Adult Jazz as ones to watch for Art In America Magazine. David Byrne followed suit and asked them to play at last year's Meltdown festival with Young Marble Giants, while further endorsements came from diverse remixes by Oliver Coates, Happa and a very rare re-work from Shabazz Palaces. Since then the band have been busy collaborating, including producing OKAY KAYA's recent single 'Durer' / 'Keep On Pushin'. Adult Jazz return with a new record 'Earrings Off!' released on May 6 2016 via TriAngle. Comprised of seven tracks, it experiments with sound and song structure as well as its themes and narrative. Harry explains: "The record is about masculinity. Embodiment, lust, idealisation, privilege, legitimacy and limitation. It's about acknowledging the weight, with a view to liberation from its past clout. It's about picking your ideal body, and playing with body language to achieve authenticity. It's about the possibility of authenticity."
Hot on the heels of his #DontFreakOut mixtape, South London producer Darq E Freaker further blazes his trademark trail through classic dance music, contemporary hip-hop and peripheral grime in the new instrumental ADHD EP for Big Dada. Having first burst into international underground consciousness with Danny Brown's ubiquitous "Blueberry (Pills & Cocaine)," the borderless, hybridized music he's known for sounds no less fresh; other production credits (Tempa T, London Grammar, D Double E) and single releases (for Numbers. among others) are testament to a genre collagist at his technical prime. Speaking on the release, Darq says: "The timeliness of this music isn't so important, the main thing is that it's RAVE music. I'm trying to fuse RAVE... with grime/hiphop groovers, drops, drum patterns & basslines. I've always been listening to music, but this is actually stuff that I watched on ‘Top Of The Pops.' Fusing genres into something technicolorful is something I've always been passionate about and pursued, both in this project and beyond. This project isn't solely me, its me pushing some of the musical influence of my adolescence into my adulthood. It's nostalgic in the most progressive way."
Following up from Roots Manuva’s critically acclaimed 2015 album Bleeds, Record Store Day 2016 will see the release of Switching Sides, a five track EP with production by With You, (Switch), Coldcut and Crookers. Side A includes three brand new unreleased tracks, "Iron Shirt'', "Body Hot", and "Watch" as well as two of Bleed's album favorites "Crying" and "One Thing." Instrumentals of all five tracks are featured on Side B. The 12" comes in the form of a heavy GSM card-printed outer sleeve with obi-strip, on 180g vinyl.
Interscope/Polydor present the debut exended play release from the fast-rising 20-year-old Harlem rapper/singer Azealia Banks. Entitled 1991 in honor of the year of her birth, the 4-track effort features the preceding hit lead single "212," its follow-up "Liquorice" and is rounded out by the new cuts "1991" and "Van Vogue." “What’s fresh about Banks is how she combines audacious charisma with lyrical naughtiness and genre hopscotching,” said Interview while V Magazine observed: “Her rapid-fire, crystalline raps are astounding in their elasticity, punctuated with clever puns, one-liners, and taunting, confrontational raunch.” Spin called “212” a “dizzyingly addictive throwdown” while W noted: “When she’s not spewing taunts, she’s singing with all the depth and prowess of an R&B star.” “‘212’ works because its popcraft and its shock tactics are each other's Trojan horses, concentrate on one and the other sneaks up on you,” exclaimed Pitchfork. “But the more you dig into the song, the more you can hear details and decisions that suggest a scary degree of pop talent."
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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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