Combine rapper Curren$y's stoned, slow flow with his general preference for light, loopy beats and you've got an “acquired taste” indeed, plus there's the full-on embracing of weed and head shop culture topped by a prolific nature that's been averaging right around two mixtapes and two commercial releases per year. Still, when it comes to quality control, Curren$y's been closer to his inspiration Lil Wayne than his other inspiration, Master P, and this well-designed multi-producer, multi-guest-shot album deserves a special place in the man's discography, being the first “official official” after some one-producer efforts and conceptual (Weekend at Burnie's was all '80s from its cover art to its beats) street releases.
Having been around for 24 years now, which could make you feel depressingly old, depending on when you first heard the three kids from New York fight for their right or sabotage samples like no one else. Ostensibly to celebrate the Beastie's longevity, Capitol Records has released Solid Gold Hits, a collection of the trio's best. The 2 LPs span the entire Beasties history, from 'No Sleep 'Til Brooklyn' to 'Sabotage' and recent hits like 'An Open Letter to NYC.'
1987's Bigger And Deffer is the second studio effort from rap legend LL Cool J on Rick Rubin and Russell Simmons' Def Jam Recordings and follow-up to his groundbreaking 1985 debut Radio. Recorded at the iconic Chung King Recording Studios and produced by DJ Pooh and L.A. Posse, Bigger And Deffer blew the notion of a sophomore jinx right out of the water with the two smash singles "I'm Bad" and first hip hop love song "I Need Love." If Radio introduced LL as hip hop's newest star, the success and diversity of B.A.D. made him its biggest. In celebration of Def Jam's 30th Anniversary UMe will be reissuing this classic album on 180 gram vinyl with a special, chromed-out, embossed limited edition cover.
Formed in 1987, in Philadelphia, PA, the legendary Roots Crew, consists of Black Thought (MC), Ahmir “?uestlove” Thompson (drums), Kamal Gray (electronic keyboards), F. Knuckles (percussion), Captain Kirk Douglas (electronic guitar), Damon Bryson (sousaphone) and James Poyser (electronic keyboard). The collective has become one of most respected hip-hop acts in the business and one of the greatest live groups around, currently residing as the official house band of The Tonight Show starring Jimmy Fallon. 2006's Grammy nonimated Game Theory is The Roots' dark and socially conscious seventh full-length LP and first for Def Jam which introduced shades of synth and electronica to their already progressive sound. The album references political rap heroes Public Enemy's "Don't Believe The Hype" on the lead track and samples such artists as Sly and the Family Stone ("Life of Fortune and Fame"), Kool & The Gang ("Jungle Boogie"), The Ohio Players ("Ecstasy"), The Jackson 5 ("All I Do Is Think Of You") and Radiohead ("You and Whose Army?") throughout. Home to the singles "Don't Feel Right" and "In the Music."
The Geto Boys name is synonymous with hardcore rap; beginning with their self-titled 1990 debut, the trio has taken the genre to new extremes, establishing their Houston hometown as a hip hop flashpoint. The Resurrection reunites the original group (Scarface, Bush wick Bill and Willie-D, who found recent success as solo artists) for their first album in 3 years.
D.I.T.C. classic! Produced by The Beatnuts, Diamond D & Showbiz!
These rare recordings are some of the first ever featuring traditional African music played on western instruments. This cultural exchange led to completely new genres in music, most importantly, Highlife. Kumasi is a Gold Coast city in Ghana, West Africa, that, at the time, did not feature much more than an open air market and one of the first British department stores in the continent. The Trio is made up on H.E. Biney on guitar, Kwah Kanta on percussion, and Jacob Sam on guitar, with all three contributing on vocals. The trio was brought to London to record these tracks in the Summer of 1928. While efforts were made in the mastering process to attain the highest possible audio quality, the limitations of the source 78s are evident. Do not, however, let that disturb your listening enjoyment or regard for their historical significance.
The music of Domingo Justus is some of the earliest known recorded in the African folk tradition. Quite interestingly, however, the music was recorded in the city of London, and Justus himself was not believed to be a resident of the African continent at the time. On the contrary, Justus was a West African transplant to Brazil, originally from Lagos, Nigeria, relocated to London. Such transplant culture was a significant component of the immigrant experience, particularly during the United Kingdom's colonial era. The music resulting from these experiences is likewise imbued with a sense of this duality and transitory way of life. In his time, specifically circa 1925-1927, Justus recorded several original and traditional songs inspired by his experiences as part of the African Diaspora, mixing his Lagosian and Yoruba folk song roots within the context of his day-to-day existence in his adopted home. He also provided backing vocals to many Ghanaian performers recording around the same time, and much of this output was recorded for the Zonophone Record label of the RCA-Victor Group. While efforts were made in the mastering process to attain the highest possible audio quality, the limitations of the source 78s are evident. Do not, however, let that disturb your listening enjoyment or regard for their historical significance.
LIMITED EDITION OF 5000 • FOIL STAMPED LINEN WRAPPED BOX • COLORED VINYL TWELVE 8X10 PHOTO PRINTS BY BUTCH HOGAN • ESSAY BY NATHANIEL KRENKEL Boxset includes: Fevers and Mirrors (2xLP - Maroon Vinyl - Gatefold) LIFTED… (2xLP - Black/Yellow Vinyl - - Gatefold) I’m Wide Awake, It’s Morning (LP - Light Yellow Vinyl) Digital Ash in a Digital Urn (2xLP - Light Blue Vinyl - Gatefold - w/ D-side etching) Cassadaga (2xLP - Clear Vinyl - Gatefold) The People’s Key (LP - Orange Swirl Vinyl)
13LP boxset includes a 84-page Hardcover Book and showcases Bowie's Philly Soul-infused, post-Ziggy era, including the previously unreleased album "The Gouster," along with Diamond Dogs, Young Americans, Station To Station, and several live albums from the era. Parlophone Records are proud to announce DAVID BOWIE 'WHO CAN I BE NOW? (1974 - 1976)' the second in a series of box sets spanning his career from 1969. The follow up to the awarding winning and critically acclaimed DAVID BOWIE 'FIVE YEARS (1969 - 1973)' will be released on 23rd September and will contain the previously unreleased album from 1974 called 'THE GOUSTER'. The thirteen-piece vinyl set feature all of the material officially released by Bowie during the so-called 'American' phase of his career from 1974 to 1976. The box set, which is named after a track recorded in 1974 but not officially released until the 1990's, includes 'DIAMOND DOGS', 'DAVID LIVE' (in original and 2005 mixes), 'YOUNG AMERICANS' and 'STATION TO STATION' (in original and 2010 mixes) as well as 'THE GOUSTER', 'LIVE NASSAU COLISEUM 76' and a new compilation entitled 'RE:CALL 2' which is a collection of single versions and non-album b-sides. Includes tracks that have never before appeared on CD/vinyl/digital as well as new remasters. Exclusive to the box set is 'THE GOUSTER', previously unreleased as a complete album. It was recorded at Sigma Sound, Philadelphia in 1974 and produced by Tony Visconti. The album was mixed and mastered before David decamped to New York to work with John Lennon and Harry Maslin on what became the 'YOUNG AMERICANS' album. 'THE GOUSTER' contains three previously unreleased mixes of 'Right', 'Can You Hear Me' and 'Somebody Up There Likes Me'. For the 2016 release, Tony Visconti has overseen the mastering from the original tapes and photos taken by Eric Stephen Jacobs have been put together for the sleeve based around one of David's original concepts for the album. Also exclusive to the box sets will be the remastered 'DAVID LIVE (original mix)', the 2010 Harry Maslin mix of 'STATION TO STATION' (previously only available on an audio only DVD in 5.1 and stereo as part of the 'STATION TO STATION' Deluxe box set in 2010) and 'RE:CALL 2'. 'RE:CALL 2' features the original single mix of 'Rebel Rebel', which has only featured on a 40th anniversary picture disc in 2014 since its original release on single in 1974, and a previously unreleased on CD Australian single edit of 'Diamond Dogs', the only place in the world that this edit was issued. 'RE:CALL 2' features newly originated artwork with 1975 in-studio images from the 'STATION TO STATION' recording sessions by David's friend and backing vocalist Geoff MacCormack aka Warren Peace. The alternative cover for the 2010 mix of 'STATION TO STATION' by Harry Maslin, features the originally intended colour sleeve for the album that never got further than a few colour proofs and was replaced by the more familiar black and white image. The vinyl box set is pressed on audiophile quality 180g vinyl. The box sets' accompanying 84 page book will feature rarely seen and previously unpublished photos by photographers including Eric Stephen Jacobs, Tom Kelley, Geoff MacCormack, Terry O'Neill, Steve Schapiro, and many others as well as historical press reviews and technical notes about the albums from producers Tony Visconti and Harry Maslin. LP Box Set includes: 84 Page hardback book Diamond Dogs (remastered) (1 LP) David Live (original mix) (remastered) (2 LP) * David Live (2005 mix) (remastered) (3 LP) The Gouster (previously unreleased as an album) (1 LP) * Young Americans (remastered) (1 LP) Station To Station (remastered) (1 LP) Station To Station (Harry Maslin 2010 mix) (1 LP) * Live Nassau Coliseum '76 (2 LP) Re:Call 2 (Single versions and non album B-sides) (remastered) (1 LP) * *: Exclusive to 'Who Can I Be Now? (1974-1976)' boxset
Launching his own new label, CVLT MUSIC, Zomby presents an exclusive reissue of his classic 2008 debut album, now available on vinyl for the very first time. When first released on Actress' Werk Discs imprint, Where Were U In 92? was instantly hailed as the rave album that was never made in the early '90s, a tumbling anthemic barrage of lost mixtape masterpieces from an artist who was starting to take the electronic dance scene by storm. However, Where Were U In 92? is not just some facsimile-style homage to the past; it takes a firm grip of the energy and sheer rushing dynamics of early hardcore breakbeat, and places those sounds and styles smack in the center of right now. This new edition is strictly limited to 1000 copies, pressed on vivid yellow wax.
Clipping formed in Los Angeles in 2009. Initially conceived as a remix project, Jonathan Snipes and William Hutson began pairing noise and power-electronics inspired tracks with (stolen) vocals by commercial rap artists. Jonathan and William did this mostly to amuse each other and the duo earned very few fans. However, the band began in earnest in early 2010, when rapper and friend Daveed Diggs joined the group. Clipping was their first project as a trio, building on both their long friendship and their many shared obsessions: rap, experimental music, and genre fiction, among others. Clipping released Midcity on their Bandcamp page in 2013 and signed with Sub Pop three months later. The band described their debut as “party music for the club you wish you hadn’t gone to, the car you don’t remember getting in, and the streets you don’t feel safe on.” In 2014, they released their Sub Pop debut, CLPPNG, omitting “I” in the title and lyrics to vacate rap of its traditional center, revealing instead a collage of recurrent rap themes. 2016’s Wriggle EP, released after Daveed’s Tony award for his role as Marquis de Lafayette and Thomas Jefferson in the acclaimed Broadway musical Hamilton, included “Shooter,” which used gunshot sounds as the beat for an imagistic narrative of three different violent encounters. Since the release of CLPPNG, things have changed for the band—William finished his Ph.D. in Theater and Performance Studies with a dissertation on experimental music, Jonathan composed scores for the films Starry Eyes, The Nightmare, Excess Flesh, and Contracted: Phase II, and Daveed hit Broadway. Their activities outside Clipping have always influenced their work in the band, but never as much as in the creation of Splendor & Misery. Splendor & Misery is an Afrofuturist, dystopian concept album that follows the sole survivor of a slave uprising on an interstellar cargo ship, and the onboard computer that falls in love with him. Thinking he is alone and lost in space, the character discovers music in the ship’s shuddering hull and chirping instrument panels. William and Jonathan’s tracks draw an imaginary sonic map of the ship’s decks, hallways, and quarters, while Daveed’s lyrics ride the rhythms produced by its engines and machinery. In a reversal of H.P. Lovecraft’s concept of cosmic insignificance, the character finds relief in learning that humanity is of no consequence to the vast, uncaring universe. It turns out, pulling the rug out from under anthropocentrism is only horrifying to those who thought they were the center of everything to begin with. Ultimately, the character decides to pilot his ship into the unknown—and possibly into oblivion—instead of continuing on to worlds whose systems of governance and economy have violently oppressed him.
Available on purple and gold vinyl for the first time is the soundtrack to the legendary Sun Ra film, Space Is The Place. Featuring some of Sun Ra's most adventurous and uncompromising compositions ever, the soundtrack incorporates vocal chants.
Last year we launched Audessey & ACatCalledFRITZ through their debut single "By Design/The Hop", which was followed by the digital release of their album Beats Per Minute. This jazzy and soulful album has now been pressed in limited numbers to 160 gram vinyl, with killer art design by FRITZ himself.
Since it’s release on CD & Digital back in 2009, Ghettosocks’ album, Treat Of The Day, has been waiting for a vinyl release. Finally, Ghettosocks and his DSP crew have teamed up with Slice Of Spice to drop this as a licorice platter. Featuring artists such as El Da Sensei and Pumpkin Head (R.I.P.) and production by Jorun Bombay, Fresh Kils, and Bix, this limited edition vinyl needs to be gobbled up before it’s gone.
Newly Remastered With Supervision By Jimmy Page. Remastered on 180-Gram Vinyl. Includes 5th Disc of Unreleased Audio. BBC Sessions was originally released in 1997 and has been certified double platinum by the RIAA. THE COMPLETE BBC SESSIONS builds on that collection with a third disc that boasts eight unreleased performances. In addition, the set includes extensive session-by-session liner notes written by Dave Lewis. For the first time ever, it provides accurate details and notes about all of the band's BBC sessions. Musical highlights on this new collection include the debut of a long-lost radio session that has achieved near-mythic status among fans. Originally broadcast in April 1969, the session included three songs: "I Can't Quit You Baby," "You Shook Me," and the only recorded performance of "Sunshine Woman." Also included are two unreleased versions of both "Communication Breakdown" and "What Is And What Should Never Be." Separated by two years, the performances vividly demonstrate the young band's rapid evolution over a short period of time. Jimmy Page spoke about the band's growth in an interview with Guitar World: "The BBC Sessions show in graphic detail just how organic the group was. Led Zeppelin was a band that would change things around substantially each time it played...We were becoming tighter and tighter, to the point of telepathy." Also included are two unreleased versions of both "Communication Breakdown" and "What Is And What Should Never Be." Separated by two years, the performances vividly demonstrate the young band's rapid evolution over a short period of time.
Newly Remastered With Supervision By Jimmy Page. Remastered on 180-Gram Virgin Vinyl and 3 CDs. 48-page Book Filled With Photos Of The Band, The Recording Locations, BBC Memorabilia, And Session Information. High-quality Print Of The Original Album Cover. Nearly 20 years ago, Led Zeppelin introduced BBC Sessions, an acclaimed two-disc set of live recordings selected from the band's appearances on BBC radio between 1969 and 1971. Later this year, the band will unveil THE COMPLETE BBC SESSIONS, an updated version of the collection that's been newly remastered with supervision by Jimmy Page and expanded with eight unreleased BBC recordings, including three rescued from a previously "lost" session from 1969. BBC Sessions was originally released in 1997 and has been certified double platinum by the RIAA. THE COMPLETE BBC SESSIONS builds on that collection with a third disc that boasts eight unreleased performances. In addition, the set includes extensive session-by-session liner notes written by Dave Lewis. For the first time ever, it provides accurate details and notes about all of the band's BBC sessions. Musical highlights on this new collection include the debut of a long-lost radio session that has achieved near-mythic status among fans. Originally broadcast in April 1969, the session included three songs: "I Can't Quit You Baby," "You Shook Me," and the only recorded performance of "Sunshine Woman." Also included are two unreleased versions of both "Communication Breakdown" and "What Is And What Should Never Be." Separated by two years, the performances vividly demonstrate the young band's rapid evolution over a short period of time.
Official reissue, back on vinyl for the first time since 1994! Building off the technical experimentation of Merciless, Selfless turned out to be more what Broadrick later called his "rock & roll album." And while it was in ways the most accessible release the band did in the '90s, it wasn't per se commercial. The rough, clipped, lock and load style of the band remained essentially unchanged at heart -- Broadrick's brawling, echoed vocals, the sheer impact of the guitars and drum machine beats, Green's uneasy bass.
Official reissue, back on vinyl for the first time since 1996! SONGS OF LOVE AND HATE, arguably Godflesh's most straightforward album, finds the revered British industrial-metal ensemble trading in its drum machine for a real drummer, Bryan "Brain" Mantia (Praxis, Primus), who departed after this release.
Like one of his endlessly building tracks, Hans-Peter Lindstrøm is only moving further upwards. The Norwegian space-disco wizard’s new EP, Windings, is three tracks of that now-classic sound closely associated with Lindstrøm’s name: skyward synths, effervescent rhythms, and melodies that spiral beautifully into the great unknown. This is Lindstrøm in the zone—and if you’ve been paying close attention over the last decade, it’s a zone he’s never left. Recorded over the past year, Windings represents Lindstrøm’s latest crystallization of the aesthetic that the greater world was introduced to on the 2006 compilation It’s a Feedelity Affair, as well as the tangy pop of 2012’s masterful Smalhans. This isn’t to say Lindstrøm’s repeating himself—far from it, in fact. Windings finds our arpeggiator-obsessed hero refining an aesthetic that already sounded perfect—a zenith that, much like the music itself, hits new peaks even when it seems that there’s no more ceiling to breach. “I wanted to go back to the fun part of making music,” Lindstrøm explains. “It’s been fun before as well, but I feel more pressure when I make albums—singles and EPs are more fun.” And Windings is certainly fun—this is pure, uncut Lindstrøm, with maximalist melodic pleasures paced with surgeon-like precision. “Closing Shot,” Windings’ impeccable eight-minute opening track, possesses all the raw ambition of Lindstrøm’s 2008 classic Where You Go I Go Too in miniature form, with gleaming, diamond-like synths twisting and tangling over handclaps and a cheeky bassline. “Algorytme” playfully bumps and grinds before reaching a melodic breakdown destined to blow minds on dancefloors as it elicits massive grins; and the gently swinging rhythm and playful synth runs of “Foehn” makes for the perfect closer, a cyclical stunner that spins mesmerizingly like a mirrorball. Reliable without sounding complacent and expansive while sounding impossibly self-contained, Windings is the latest reminder that Hans-Peter Lindstrøm is on an unbelievable run. It’s an impressive display of virtuoso talent that only the stars can contain, and a dizzying collection of tracks that, as ever, test the limits of achieving total bliss and reaching towards total artistic infinity.
140 Gram Black Vinyl, includes gatefold and insert Red Hot Chili Peppers return with their eleventh studio album, produced by Danger Mouse and mixed by Nigel Godrich.
Limited to 2000. OPETH’s new album, »Sorceress«, their first for Nuclear Blast via the band’s imprint labelModerbolaget Records, is proof chief architect Mikael Åkerfeldt has a near-endless well of greatness inside. From the album’s opener 'Persephone' to 'The Wilde Flowers' and 'Strange Brew' to the album’s counterpart title tracks 'Sorceress' and 'Sorceress II', OPETH’s twelfth full-length is an unparalleled adventure, where visions cleverly and secretly change, colors mute as if weathered by time, and sounds challenge profoundly. ”The new album »Sorceress« is our 12th studio album since our beginnings in 1990,” says Åkerfeldt. “I find it difficult to understand that we’ve been going on for 26 years, let alone that we’ve made 12 records now, all of which I am very proud of. ”Sorceress” is no exception. I love this album, as does the whole band. I wrote the music during 5-6 months and we spent only 12 days recording it at Rockfield studios in Wales. I find that once again we’ve taken a step forward. Or sideways, Or backwards. Somewhere!? It’s different! It’s extremely diverse. And if I may say so myself, extremely good. I feel the right to say that since I like to think I know this band better than anyone on the planet. Also, I always manage to detach myself from the record and listen as a fan. It’s a fine little record. My favorite in our discography right now. Of course. That’s how it should be, right? It’s both fresh and old, both progressive and rehashed. Heavy and calm. Just the way we like it. Hopefully there’ll be others around the globe sharing this opinion. It was a joy to make it. A fucking joy to record it, and a sheer joy listening to it. So there you have it!” For »Sorceress«, OPETH returned to Rockfield Studios in Wales, also home to pivotal releases from Queen, Rush and Judas Priest, where the Swedes had tracked »Pale Communion« in 2014 with Tom Dalgety. The band spent 12 days recording at the countryside venue among its serene and inspiring surroundings. The result is nothing short of a powerful and intriguing record that will add yet another layer to the band’s celebrated career.
Dub Mir present the first reissue ever of World At War (1981) by Scientist. Jimmy Riley meets Scientist in dub. Classic Scientist dub action over tough Sly and Robbie Channel One rhythms. All tracks recorded at Channel One by Prince Jammy, Scientist and Jimmy Riley. Top ranking dub. Remastered by Hopetown Overton Brown. Contains a bonus CD. 45rpm audiophile edition.
Dub Mir present the first reissue ever of In Dub Vol 1. (1981) by Scientist. A truly outstanding Scientist killer dub LP, originally released in 1981. Produced by Linval Thompson and mixed by the one and only Scientist at King Tubby's. Remastered by Hopetown Overton Brown. Contains a bonus CD. 45rpm audiophile edition.
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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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