Blunted On Reality is the 1994 debut album by Wyclef Jean, Lauryn Hill and Pras Michel, collectively known as The Fugees. The album contains less political lyrics than their second album The Score, but there definitively were political intentions. As Wyclef Jean described the meaning of the title in an interview: ''When the cop is messing around with somebody for something that the person didn't do and they try to set 'em up, that makes me blunted on reality. When the government is taking money on arms... and that money could be going back to the community it makes me blunted on reality. It's just awareness of what's going on... that's what blunted on reality means... '' The album spawned 3 singles; ''Nappy Heads'', ''Vocab'' and ''Boof Baf'' and started selling big quantities, eventually reaching gold and platinum status, after the release of their critically acclaimed album The Score in 1996.
Maxwell s 4th studio album BLACKsummers'night was the first in a music trilogy series that Maxwell began 7 years ago. In lieu of the release of the 2nd part of the series blackSUMMERS'night, Legacy is proud to release the first-ever 12" vinyl edition of BLACKsummer'snight as a limited edition Metallic Silver collectible pressed on 150gram vinyl featuring the singles "Pretty Wings", "Bad Habits", "Cold" and "Fistful of Tears".
In honor of the 20th Anniversary of Maxwell's Urban Hang Suite, the artist's game-changing debut album, a special 2LP collection will be released. Pressed on Metallic Gold 12" 150gram vinyl, this LP package comes with an 8-page booklet that includes rare images from the original album and single photo shoots. The booklet also includes a very special pair of revelatory new essays: 1) an appreciation of Maxwell and his music by noted R&B scholar, music/culture critic, journalist and filmmaker Nelson George; and 2) a behind-the-scenes reminiscence on the making of Maxwell's Urban Hang Suite penned by music industry veteran Mitchell Cohen, who, as Senior Vice President of A&R at Columbia Records, signed Maxwell to the label and helped shepherd the music from raw concept to full realization.
Three years after the critically acclaimed and heart wrenching 'Sea Change' Beck returns with 'Guero', that reunites Beck with classic co-conspirators the Dust Brothers. Beck explores territories uncharted by even this most innovative artist of his generation.
This is among our favorite Tom Ze albums. Richard Gehr who writes so much better then we had this to say about Tom: You don't need to be a polymath to love Tom Zé's's music, but it helps. A seminal figure of the early-'70s Tropicalismo movement in Brazil that launched the careers of Caetano Veloso, Gilberto Gil and Os Mutantes, among others, Zé's is a card-carrying cultural cannibal inspired equally by both ideas and sounds. "I don't make art," he has said. "I make spoken or sung journalism." By way of explaining his unique outsider status in Brazilian popular music for National Public Radio, Zé recalled how he "discovered at a young age that I was horrible composer, a horrible instrumentalist, and a horrible singer." Like Lee Perry, George Clinton, Kip Hanrahan and Hal Willner, Zé is a genre unto himself, an uncompromising ringmaster with a talent for marshaling mighty forces to manifest his idiosyncratic musical visions. Born Antonio José Santana Martins in the outback village of Irara, Bahia, in 1936, Tom Zé was a semipopular singer-songwriter from his eponymous debut album in 1968 through the '70s. By the end of the '80s, however, a discouraged Zé was on the verge of abandoning music completely. In fact, he was on the verge of assuming management of a gas station with his wife when he learned that David Byrne wanted to meet him. Drawn to its barbed-wire cover illustration, Byrne had picked up a copy of Zé's 1975 album Estudando o Samba (Studying Samba) while visiting Brazil, and wanted to meet its maker. The following Luaka Bop releases of Tom's music revitalized his career, nowhere more so then in Brazil. Tom's third Luaka Bop album, Com Defeito de Fabricao (Fabrication Defect), is Zé's most fully realized so far. It consists of fourteen "defects," tracks Zé's composed through his "esthetics of plagiarism," or arrasto, which he defined as "'wilding' with a purpose, i.e. robbery." Zé's denounces cynical first-world purveyors of commercialized crap to the third-world masses while celebrating said masses' supposed imperfections: religious hypocrisy, curiosity, stupidity, raging youthful hormones and a love of dance. One perfect moment: in "Juventude Javali," a chorus sings of how "the wine of open legs/ Soaks the offerings on the altar" in a harmony so lovely and effortless you could cry. And it's hard to believe the Nortec Collective has never enjoyed the consummate Northeast accordion techno of Fabrication's "Xiquexique," whose lyrics contains a nod to the late, great Pernambuco star Chico Science. In its overwhelming beauty, willful ignorance, and bottomless wealth of ideas and pleasures, Ze's music reminds me of a photograph someone recently sent me of Marilyn Monroe perusing the final page of James Joyce's Ulysses, the perfect monument to fatal condescension.
Wax Tailor aims to make you travel with his fifth studio album By Any Beats Necessary. “The album’s title reflects my determination to use all kinds of sounds and textures to get to something musical,” says JC Le Saout. “The word ‘Beat’ also draws a line towards the Beat Gen- eration, Kerouac’s famous novel On The Road, and the quest for a better place. And so, in this time when each of us needs a little escape, I conceptualized this album as the soundtrack to a better elsewhere”. This new take on the western frontier leads us on a fabled road where blues, psychedelic rock, soul, funk and hip-hop collide. Joining him on this ride are guests such as Ghostface Killah from the Wu Tang Clan, R.A. The Rugged Man, who crosses mics with up and comers A-F-R-O & Token, in a showdown for the ages. The album also features Tricky in a very personal duet with Charlotte Savary, Lee Fields, the godfather of the retro soul scene, Sara Genn, Mattic and Raashan Ahmad and newcomer Idil.
Bundle includes official 2016 reissues of Beck's seminal classics, Odelay and Sea Change, on LP and 2xLP vinyl, respectively. Odelay (LP -140 Gram Vinyl)Originally released in June of 1996, Beck's second major label album, Odelay, was his chance to prove that he was no one-hit wonder. His major label debut, Mellow Gold, had produced the hit single "Loser," but there was a sense he hadn't quite won over everyone and it was hard to tell exactly who Beck was. Was he joking? Was he serious? Was he simply some sort of beat-poet novelty act? With Odelay, he enlisted the Dust Brothers, most famous at this point for being behind the boards for the Beastie Boys' 1989 sonic-collage opus Paul's Boutique. Together they crafted a classic. Sea Change (2xLP - Gatefold + Download Card)Drawing from hip-hop, folk, psychedlia, pop, rock and experimental, Beck defined himself as a warped poet in the '90s. Always changing and evloving his moods, Sea Change is a prime example of the singer/songwriters evolution within his craft. The finest example of Beck's talents as a singer, songwriter and musician.
Danish producer Uffe Christensen returns to Tartelet Records with his second LP 'No', a deeply personal LP to follow 2015's debut 'Radio Days'. Every bit as abundant as his first, it's a record that scales polyrhythmic percussion, improvised jazz, & billowing ballads. This, that and so much more, it's a triumph of one man's instinctive ear - and should be consumed in one sitting.
RX Bandits announce the 10th anniversary reissue of their album, ...And The Battle Begun, and U.S. tour performing it in its entirety. The 2006 album was the very first release on the Sargent House label, begun by Cathy Pellow (as well as the management company of the same name). The special double LP anniversary edition will be available for the first time at retail. RX Bandits founding member Matthew Embree reminisces about the album: “...Battle is the sound of us playing music in a room together, in the summer of 2005. It was a definitive crossroads for the band, one that would lead to some of our most favorable adventures. In my opinion, Sargent House/Cathy saved our career.” - Matt Embree
Following the release of 'Total Exposure' the fiery Argentinian girl group Las Kellies return with new album 'Friends & Lovers'. Las Kellies inflected new wave post-punk blends garage-psych with infectiously deft dance beats and melodic pop. 'Friends & Lovers' fuzzed-up gems sees them move away from the heavier dub sounds of their last record instead sinking their teeth into a groove like Thee Oh Sees with the spirit of ESG and Delta.
Kuedo returns to Planet Mu with his long awaited second album ’Slow Knife’. It’s been five years since his acclaimed debut ‘Severant’ and time has proved it prescient; its futuristic trap influence is now ubiquitous. ‘Slow Knife‘ seems to return to where ‘Severant’ left off, but with the intricate sound design of last year’s haunting EP ‘Assertion Of A Surrounding Presence’ subsumed into the compositions, making them more exacting and beautifully crafted. Between albums Kuedo has been working as a sound designer and composer for hire and the application of intent and widescreen rigour that commercial work requires has definitely found its way into the new album. ‘Slow Knife’ has the subtlety, ambition and pacing of a brilliant soundtrack - a sense of an album of scenes, that easily lends itself to an impressionistic narrative. But, as with ‘Severant’, the title suggests relationship unease, with the slow knife being a metaphor for the building resentment in any close relationship. ‘Slow Knife’ is almost two albums; the first half, according to Kuedo, invokes the seduction of the city, taking the music of Michael Mann’s ‘Manhunter’ as a cue, with the latter half being inspired by the bloody starscapes and voodoo wilderness of films such as ‘Angel Heart’, ‘Night Of The Hunter’ and more recently the ‘True Detective’ series. Both halves of the album are also in thrall to ‘Ghost In The Shell’ and Mica Levi’s inspiring ‘Under The Skin’ soundtrack, especially in the turbulence of the mid-section. The songs of the albums first half are synthetic and seductive, a gelatinous veil with shades of the pseudo-sophisticated trance of Enigma, of all things, underpinned with dusky unsettling shadows and atmosphere. ‘In Your Sleep’, perhaps surprisingly, features the vocals of Hayden Thorpe from Wild Beasts, who settles his dark, whispered vocals into the moonlit shadowy atmosphere. ‘Floating Forest’ is the first track to allow back some of Kuedo’s experimentation with the Southern rap template, which he explored before it became commonplace, with echoed drum splashes and a sinister repetitive motif, ending with a haunting growl. The second half of the album enters wilderness territory with ‘Approaching’s slow descending notes, before ‘Broken Fox - Black Hole’ throws the record into the cathartic darkness, as undulating chords play hide and seek with riotous reeds and scratchy strings grown from challenging collaborations with cello player Koenraad Ecker (of Lumisokea). ‘Breaking The Surface’ shivers and coils, before metal and strings dominate while ‘In Your Skin’ feels like being lost in a vast hinterland before ‘Warmer Light’ introduces some memories of sunshine, with its plucked bassline and spiralling dub. ‘Halogen Light’ opens with the sound of crickets and a clear piano, cleansing the soul before ‘Lathe’ brings things down to earth with a short, yet powerful coda.
Weezer's Blue Album Now on Blue-Colored Vinyl: Limited-Edition LP Mastered from the Original Master Tapes for Unsurpassed Fidelity Weezer doesn't look like rock stars, its amusing name doesn't evoke stadium-heights glories, and the group's lyrics don't exude confidence or flash. For precisely these reasons—and the fact that the band's songs on its self-titled debut are the stuff of air-guitar dreams and shout-it-out choruses—the quartet became ironic arena-rock stars equally embraced by in-the-know hipsters and mainstream listeners. Replete with urgent melodies, wry humor, and gargantuan hooks, Weezer (Blue Album) remains the best geek-rock record ever made. Addressing jealous insecurities, pop culture, truelife heartbreak, common accidents, youthful misconceptions, and daydreaming with unassuming candor, the album's catchy songs have become anthems for multiple generations. It's why the group's first record remains universally beloved as it celebrates its 20th anniversary. Mastered from the original master tapes, Mobile Fidelity's numbered limited-edition blue-colored 180g LP of the 1994 release Rolling Stone named the 297th greatest album ever recorded finally possesses the grand-scale sonics that the music's bunker-busting hooks deserve. Cars frontman Ric Ocasek's polished production is now both free of artificial ceilings that squashed the explosive dynamics and rid of the compression that saddled the frequency range. Instrumental separation is vastly improved, and the amount of midrange energy seemingly doubled. Rivers Cuomo and Matt Sharp's tandem vocals receive a barbershop-quartet harmonic boost in line with the bubblegum appeal of the guitar-driven bridges and rhythmic foundations. Guaranteed to help you rock out, this analog reissue is a front-row ticket to endless fun.
Leonard Cohen, the acclaimed composer of “Hallelujah”, continues to astonish his audience. At age 82, he presents his uncompromising and urgent new album, You Want It Darker. Described by early listeners as a “masterpiece” and “classic Cohen,” You Want It Darker, is the latest chapter in Leonard’s significant contribution to contemporary music and thought. These startling songs have been beautifully realized in this his 14th studio album featuring 9 new tracks including the title track, all produced by his son, Adam Cohen.
The Freak's Brew LP underlies an amazing mixture, consisting of own and other substances. Their mixing ratio is not controllable. Occasionally it penetrates through their channels to the surface and distributed irregularly. If then you find yourself in the vicinity, initially sharpens your gaze inward.After deeper influence the mixture starts to form new within yourself. Now needs to find its way and the sequence starts anew.
Anyone reckless enough to have typecast Angel Olsen according to 2013’s Burn Your Fire For No Witness is in for a rethink with her third album, MY WOMAN. The crunchier, blown-out production of the former is gone, but that fire is burning wilder. Her disarming, timeless voice is even more front-and-center. Yet, the strange, raw power and slowly unspooling incantations of her previous efforts remain. Over two previous albums, she gave us reverb-shrouded poetic swoons, shadowy folk, grunge- pop band workouts and haunting, finger-picked epics. MY WOMAN is an exhilarating complement to her past work, and one for which Olsen recalibrated her writing/recording approach and methods to enter a new music-making phase. As the record evolves, one gets the sense that the “my woman” of the title is Olsen herself, absolutely in command but also willing to bend with the influence of collaborators and circumstances. An intuitively smart,warmly communicative and fearlessly generous record, MY WOMAN speaks to everyone. That it might confound expectation is just another of its strengths.
Louisville-based avant-garde chamber group Rachel's present the vinyl debut of their 2003 full-length album systems/layers. This double LP album release also includes the vinyl debut of Rachel's 2005 EP, Technology Is Killing Music. Numerous recording sessions make up systems/layers, home recordings, field recordings, and several large ensemble sessions with members of the Louisville Orchestra. Preliminary work for systems/layers began in 1997, when Rachel's took to the streets of NYC armed with a DAT recorded in search of interesting sounds. This project, intended to address the issues of modern urban life, was set aside while other projects kept the band's attention. However, when Rachel's started working with the innovative New York based SITI theatre group in 2000, these recordings were given an environment to be completed. Included on the last side of this 2xLP release, Technology Is Killing Music is an ideal companion to systems/layers. Assembled in the same cut up style, this 20-minute EP is a long-form suite comprised of material sourced from studio sessions, live performances and field recordings.
Sleigh Bells wasted no time after getting off the ground in 2009, releasing three blistering records in four years. Ready for a break from the road, they took their time on their fourth LP, Jessica Rabbit, writing and finishing the record several times only to realize that they wanted to push themselves and the music further. As the three years elapsed, Derek went looking for the abyss, found it, and crawled out in one piece. Alexis, for her part, found something like heaven in nature and healthy living. The result of their combined experiences is an intense and vulnerable record that's highly evolved and completely uncategorizable, a major statement from a band wholly committed to advancing their dynamic, uncompromising vision. Jessica Rabbit is the first release on the band's own record label, Torn Clean, in partnership with Sinderlyn Records.
This long-overdue vinyl reissue of Yoko Ono's seminal, but massively under-appreciated Plastic Ono Band has all the makings of a classic rock nostalgia trip: Ono, John Lennon, Ringo Starr, Klaus Voorman and free-jazz legend Ornette Coleman. All the pieces are here to stir up a dangerous amount of nostalgia. But once the needle drops, the record achieves something exactly perpendicular to nostalgia. Released in 1971, the album not only influenced the approach of other musicians for decades, it also sounds absolutely modern 44 years out, eternally fresh despite the forward march of time. Yoko Ono/Plastic Ono Band not only predicted the intersection of the avant-garde and rock that would take place in the second half of that decade, the album would sound right at home at where that intersection is happening today.
Life with the Lions is the sound of Ono and Lennon validating their love as something impenetrable and timeless. It's when we, the listener, begin to fully understand that the scope of their recording efforts was much more than a recording collaboration, and something closer to a performative documentary, a declaration of "Our life and our love is our art - every nitty, gritty part of it."
Out October 28th, Pieces In Space is the Don Giovanni Records debut LP from Sammus, the stage name adopted by Ithaca, NY producer, rapper, activist, and PhD student Enongo Lumumba-Kasongo. Known as much for her rousing stage presence as she is for her prowess as a beatmaker and lyricist, Sammus has spent the past several years cultivating a strong following of activists, hip hop heads, punks, and self-proclaimed nerds and geeks, among others. Now ready to make her Don Giovanni debut, she is poised to cement herself as an artist who consistently thinks outside boxes and dances across lines (and does other neat things with geometrical figures). Armed with guest appearances from rap legends like Jean Grae, Homeboy Sandman, and Open Mike Eagle as well as her Don Giovanni labelmate Izzy True and Brooklyn up-and-comer Latasha Alcindor, the project aims to establish Sammus as one of the great MCs, beat makers, and thinkers of this politically charged movement.
After repeatedly being visited by a strange messenger in his dreams while on tour in the islands of Greece, Toby Pazner became consumed with a vision to tell the stories of The Olympians through music. Chosen by the gods as a messenger for not only his musical gifts, but for his unique position at the center of the Daptone family, Toby built a home studio from scratch and employed some of the top soul musicians in the world to help him breath life into this album. The result is a dramatic and cinematic journey to the outer limits of instrumental soul music, built on a foundation laid by the same craftsmen who’s bricks built the legacies of Sharon Jones, Lee Fields, Charles Bradley, The Budos Band, and Menahan Street Band, and painted with lush strings, harpsichord, harp and horns. The Olympians is destined to be the instrumental gem of the year.
DJ and producer David Holmes is welcomed to the Late Night Tales fraternity with an evocative collection of personal songs and music, peppered with exclusive new material and rare gems. By now, I think we all know David Holmes, right? There’s acid house Holmes, with bone-rattling Chicago jams and Detroit destroyers; break-digger Holmes responsible for the grittily shaking ‘Let’s Get Killed’ and seminal Essential Mix compilation (which brought Sixto Rodriguez to people’s attention, and then there’s soundtrack Holmes. His most enduring and vital source of musical inspiration - cinema - plugged into David’s first solo record ‘This Film’s Crap, Let’s Slash the Seats’ and inspired 2000’s ‘Bow Down to the Exit Sign’; created as the soundtrack to a not-yet-made movie. Official soundtracks have been bountiful, including scores for Soderbergh’s Out Of Sight and Ocean’s trilogy, '71, Hunger and Good Vibrations. In a series of personal songs sung by himself, David’s last solo album ‘The Holy Pictures’ explored influences of La Düsseldorf, The Jesus and Mary Chain and early Brian Eno. His Unloved collaboration with Keefus Ciancia and Jade Vincent then took us on a musical journey full of raw 60s pop-noir, psychedelia and French Ye Ye with a contemporary twist. Somehow he’s also found time to produce records by Primal Scream and Jon Spencer Blues Explosion. Unsurprisingly, for someone au fait with matters cinematic, this Late Night Tales conjures up its own mind- movies. It’s not only packed with the judiciously selected nuggets for which his mixes are noted but also stuffed with original material, including collaborations with BP Fallon and Jon Hopkins and an amazing new reading of 10cc’s ‘I’m Not In Love’ by Holmes-produced Song Sung. In fact, there’s a Celtic thread running through the whole journey with Stephen Rea’s reading of an extract from Seamus Heaney’s AENEID BOOK VI - Elsewhere Anchises. Among the other gems included here are David Crosby’s lush ‘Orleans’, Buddy Holly’s celestial ‘Love Is Strange’ and the Children Of Sunshine’s ‘It’s A Long Way To Heaven’. David Holmes loves music. It’s a way of expressing the sometimes inexpressible or the inconsolable; a questing desire to find out just what is over the next hill. It’s no surprise to learn he’s a keen walker. Always on the move, headphones on, lost in some reverie or piece of music; the soundtrack to his life, the stuff that feeds his imagination. “I walk a lot. It’s amazing for listening to music: your phone or your emails aren’t going and you’re just in the forest listening to music. It’s so intimate. Anyway, I was listening to the KLF’s Chill Out album, which still sounds amazing, but it triggered an idea with concrete sounds through travelling and movement. And one of the things I was trying to do was to use this idea not just break up the moods but also as a metaphor for moving through life and arriving in different destinations or arriving at different stages in different parts of your life. Memory, Love, Living, Family, Friendship, Healing, Death and The Afterworld are some of the themes I wanted to explore within this record. Although these strong themes and tracks are personal to me, I also wanted it to be a great listen that was unpredictable yet had a seamless flow - a journey that was personal to me yet to the listener a great compilation of music that they may or may not have heard before. I hope I’ve succeeded in the later.” David Holmes 2016
New solo album from Sims, member of the acclaimed Minneapolis hip-hop crew Doomtree, featuring the adventurous production of Lazerbeak, Paper Tiger, and ICETEP. Over the past decade, Sims has released a host of projects, both as a solo artist (Lights Out Paris, Bad Time Zoo, Wild Life EP, Field Notes) and as a member of Doomtree.
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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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