Limited vinyl LP pressing features white scratch-off ink and a 25 cent piece cased in a plastic outer sleeve. Each copy will be unique, as the quarter will move around the plastic sleeve in transit creating it's own pattern. This is intentional, so any scratches that appear on the front cover when the vinyl arrives is a result of this. 2016 release. Sirens is the highly anticipated second full-length LP from Nicholas Jaar, the Chilean-born electronic music producer, mixing engineer and DJ. A prolific artist with a wide palette of talents, Jaar spent his teenage years in dance music circles in New York City, where he now resides. In 2011, he released his debut album, the critically-acclaimed Space is Only Noise. In 2012, he was contributed to BBC Radio 1's prestigious 'Essential Mix' series, winning 'Essential Mix of the Year'. Jaar is the founder of the New York based imprint Other People, releasing music and spoken word by a diverse group of artists ranging from Lydia lunch to Ezekiel Honig.
Stranger Things is the breakout Netflix original series set in 1983 Indiana where a young boy vanishes into thin air. As friends, family and local police search for answers, they are drawn into an extraordinary mystery involving top-secret government experiments, terrifying supernatural forces and one very strange little girl. A love letter to the '80s supernatural classics that captivated a generation, Stranger Things stars Winona Ryder, David Harbour, Matthew Modine, Finn Wolfhard, Millie Bobby Brown, Gaten Matarazzo, Caleb McLaughlin, Natalia Dyer and Charlie Heaton. The series is now streaming on Netflix globally. Formed in 2009, the prolific Austin, TX experimental synth quartet S U R V I V E have released two full-lengths and numerous EPs / singles since their inception, including recent contributions to the soundtrack for the acclaimed indie horror film The Guest. Additionally, two of the group's members, Kyle Dixon & Michael Stein, recently scored the soundtrack for the first season of Stranger Things. The first season is available to stream now on Netflix.
Edward Artemiev's re-recording of his score to Andrei Tarkovsky's classic 1972 film Солярис (Solaris), reissued on 180-gram vinyl. When Artemiev recorded this score in Moscow in 1989 and '90, there was no legitimately available releases of the original soundtrack. Artemiev chose to fill that void himself with this recording, released on Torso Kino in the Netherlands as part of a 1990 double-LP set also containing re-recordings of Artemiev's scores to Зеркало (Mirror) (1975) and Сталкер (Stalker) (1979). This set is now long out of print, and Mirumir is pleased to present the collection on two separate LP releases, remastered, with new artwork, and officially licensed by the artist himself.
The list of musical highlights for Vincent Williams aka DJ Spinna are too numerous to list, from his seminal hip hop duo Jigmastas and DJ sets across the globe, to his iconic solo productions and remixes. But if you ask him, it's the relationship he's forged with personal hero Stevie Wonder that Spinna considers to be his single greatest achievement. As with most artists of a soulful persuasion, Stevie's music influenced Spinna from the outset, dictating everything from his approach to writing to his use of Fender Rhodes and Moog bass- lines on his productions. Having gained so much from the great man, Spinna decided to pay tribute in the form of 'Wonderfull', a series of parties celebrating the Wonder of Stevie. This is where the story became somewhat surreal for Spinna, suddenly finding himself joined onstage in Washington D.C. by none other than Stevie himself, a spine-tingling moment even when viewed on YouTube. An extension of the Wonderfull parties, this album represents a celebration of the life, music and cultural impact of Stevie Wonder. Few compilers can boast Spinna's understanding of Stevie's back catalogue, not to mention the large number of songs he's written for other artists over the years. Featuring stunning cover versions you may well have never heard before alongside songs many of us had no idea he'd written, Spinna's vast knowledge of and boundless enthusiasm for Stevie's music shines with every selection. As both a super-fan and a close friend, surely there is nobody better placed to compile this wonderful document of Stevie Wonder's music, inspiration and influence.
Gatefold double LP with matte and gold foil packaging, download card, and silkscreen D-side. When most fans think of Mac Miller, the first thing that comes to mind is his seminal work Best Day Ever, its recognizable artwork, or its most popular track: “Donald Trump.” Remastered and featuring deluxe packaging, Best Day Ever is receiving a commercial release on vinyl and CD for the very first time.
Hurt & The Merciless marks a musical culmination for The Heavy, a mesmerizing blend of their trademark rock’n’roll classicism and funk and soul grooves, with added sonic experimentation. Self-produced, the band's main aim when recording was to capture the powerful energy of their live show—that life-affirming spark of rock’n’roll when anything feels possible. The 12 track album features lead single "Since You Been Gone," with its lolloping groove, plus the spiky garage-rock anthem "What Happened To The Love?" and is their strongest batch of songs to date.
Phil Collins revisits a career that can boast over 100 million sales and numerous worldwide #1 albums. Face Value will be remastered by Nick Davis, who earned a Grammy nomination for Best Surround Sound album for his work on the Genesis '1970-1975' box set. Davis has also worked on all of the Genesis retrospective reissues. Entirely curated and compiled by Collins himself, his idea for this release is to examine how his songs have evolved over time, with the majority of the additional content throughout these releases focused on live versions of the tracks. By contrasting the original studio versions of the material with later performances, the series demonstrates how Collins' songs take on a life of their own once they're freed from the confines of the studio. Initially released shortly after Collins' 30th birthday, 'Face Value' was propelled to international multi-Platinum status with the help of the smash hit single 'In The Air Tonight'. Other notable tracks on the album include the follow-up singles 'I Missed Again' and 'If Leaving Me Is Easy', as well as 'Behind The Lines' which was written with Collins' Genesis colleagues Tony Banks and Mike Rutherford. The 180-gram heavyweight audiophile vinyl format (Single LP) features the remastered album as a stand-alone product.
First time ever on vinyl, limited to 500 copies. Now, for the first time ever on vinyl, the soundtrack to Alfred Hitchcock's masterpiece Psycho, scored by one of the greatest composers to ever grace the silver screen, Bernard Herrmann (Citizen Kane, Taxi Driver, Cape Fear, etc.) Herrmann began writing scores for Alfred Hitchcock in 1955, but the apex of this collaboration came undoubtedly with the scoring of 1960s Psycho, where Herrmann's amazing ability to set the mood has made the soundtrack to Psycho perhaps the most memorable in the history of cinema (who can recall the shower scene without recalling the sound of shrieking violins?). Do not miss your chance to own this classic on vinyl!" On 180 gram vinyl.
Gatefold LP edition, with CD included, of the 2006 Lucky Boy album by DJ Mehdi (1977-2011). Born and raised in Paris, DJ Mehdi began producing for major French hip-hop artists in 1995, and went on to release highly successful albums with his bands Ideal J and 113, remix various electronic acts, compose soundtracks for many French and international films, and collaborate with MC Solaar and Daft Punk. Lucky Boy was his second solo album, following 2002's (The Story Of) Espion (Virgin). Lucky Boy's single, "I Am Somebody," features vocals from Canada's finest, Chromeo.
…"Langhorne dialled his music all the way down to produce this desolate masterpiece, perhaps the loneliest film score ever." -The Wire ...“Maybe if Fahey hadn’t punched Antonioni, and had scored the desert porn scene in Zabriskie Point instead of Garcia, or if Sandy Bull had all of Ry Cooder’s soundtrack gigs, there’d be similar grounds for comparison.” -Dusted Magazine Bruce Langhorne’s film score to Peter Fonda’s 1971 cult classic “The Hired Hand” was Bruce’s first solo album and Peter Fonda’s directoral debut. Bruce Langhorne is most known for his session work with artists in and around the Greenwich Village folk scene during the 1960’s. Most notable his work on early Bob Dylan recordings. He’s been credited as working with such artists as Odetta, Joan Baez, Peter, Paul and Mary, Babatunde Olatunji, Richie Havens, Carolyn Hester, Peter LaFarge, Gordon Lightfoot, Buffy Sainte-Marie, Ramblin’ Jack Elliot... practically everyone active in Greenwich Village during that era. In addition to being the inspiration for Bob Dylan’s "Mr. Tambourine Man", Langhorne also played the electric guitar countermelody on the song. His guitar is also prominent on several other songs on Dylan's Bringing It All Back Home album, particularly "Love Minus Zero/No Limit" and "She Belongs to Me", but also "Subterranean Homesick Blues", "Outlaw Blues", "Bob Dylan's 115th Dream" and "Maggie's Farm", on which he played the lead guitar part. He also played the guitar with Dylan for Dylan's television performances of "It's Alright Ma (I'm Only Bleeding)" and "It's All Over Now, Baby Blue on the Les Crane Show a month after the Bringing It All Back Home sessions. Two years earlier, Langhorne had performed on Dylan's The Freewheelin' Bob Dylan on "Corrina, Corrina" as well as the outtake "Mixed-Up Confusion". In 1969 Langhorne was asked by Peter Fonda to score his directorial debut. He decided to opt out of scoring the film in a projection room, instead chose to shoot the film onto a small black and white camera to take back to his home in Laurel Canyon. He would watch the film and play along to it as his girlfriend at the time would record him and play it back, allowing him to overdub Farfisa Organ, piano, banjo, fiddle, harmonica, recorder, and Appalachian dulcimer onto his Revox reel to reel. Bruce's 1920 Martin guitar is most prominent throughout the record. The Results were a uniquely wide and lonesome soundscape. The closest comparison might be Sandy Bull or possibly John Fahey, but nothing of its kind or even of it's time poses a resemblance to Langhorne's minimal masterpiece.
Experimental electronic supergroup Future Brown (composed of Fatima Al Qadiri, Asma Maroof & Daniel Pineda of Nguzunguzu, and J-Cush of Lit City Trax) drop their long awaited debut self-titled LP for Warp. The LP brings forward a number of incarnations of contemporary club music; from the Chi-town auto-tuned warbling of Talkin Bandz, to Tink’s rhyming couplet flow on Wanna Party. The Future Brown sound is a hybrid of dancehall, grime, trap and hip hop with flashes of everything inbetween. Starring vocal turns come from Tink, Prince Rapid and reggaeton vocalist Timberlee but the victory of the album is the production. Cutting-edge club music presented by an unparalleled army of tastemakers.
On the heels of last week's surprise release of FKA twigs' M3LL15X EP, BOOTS – the sole producer behind four of the EP's five tracks – is now announcing the release of his debut album, AQUΛRIA, due out Friday, November 13th on Columbia Records. Featuring co-production from El-P (Run The Jewels) and Carla Azar (Autolux), AQUΛRIA is set somewhere in a twilight realm of the Information Era as BOOTS blends masterful musical styles and gritty vocals with a futuristic approach at creating a boundary-crushing defiance to the established musical hivemind.
Once in a great while, a duo emerges with such authority and such seemingly effortless originality that their place in the front ranks of their craft is unquestioned. So it is now with Castor Pollux and J.Dankworth. As you shall hear in this album- the third album in a series called Family & Music . Castor Pollux not on only possesses prodigious technique but more important, Castor has become one of the most compelling story-tellers and mood explorers in this industry. There is no dearth of astonishingly agile word play in this album,but he also says so much to the listener. Castor P. & J.Dankworth speak in sounds that have seldom been equaled on the instruments for fullness, warmth and what I can best call spaciousness of spirit that makes their music a remarkably regenerating experience. This album focuses on Castor Pollux and J.Dankworth as Lyricist and Producer as a unique musical team with plenty to display in their arrangements. J.Dankworth displays his distinctive style with his MPC 2000. “A striking producer exploring his limits of his MPC with fearless and joyful eagerness.” Fearless, because of J.Dankworth’s own formidable inner serenity, a result of his record digging skills. Musicians featured on this composition include additional lyrics by Oddity Orwell, Enyl8 , ThoughtsArizen and special appearance by Rhythm Writers, and hypnotizing vocal hooks by Jen Raye & Beth I and special guest producer The Earl, along with guest dj’s Dj Resident and Ike Check. Album Dedicated to all Working People on the Grind Supporting their Families. Peace to everybody that supported Castor and J.Dankworth from the start.
What happens to the victorious army when they've won the war but lost the Peace? How does a prophet continue to refine the message when its truth is so widely understood and accepted that it's changed the world around it? Can a band maintain its position at the vanguard of a musical revolution when everyone who came up with them thinks the fight is over? Ask Chuck D. For 30 years, Public Enemy have not only been first to the barricades to defend the community they're part of and the culture they helped shape - Chuck and his band have written the rule book on how to stay two steps ahead. In 1985 they bum-rushed the rap show and turned this new musical art form from a curiosity to a powerful political tool. At the end of the 20th century they wrested control of the means of production, helping to consign the music industry's business model to history's digital dustbin. So it's no surprise that in 2015, the noise the band is bringing rings loud and with clarity on matters their competitors and contemporaries haven't even started to think about. Chuck and PE led the fight for the rights of the artist against the corporation, and by any reckoning they scored a significant victory. But the win came at a cost. Today, anyone can make a hit that's heard and loved around the globe: but it's still the corporations that are making the money. Those who know, know who: where it was once about CBS, RCA and EMI, today's music-biz corporateplantationopolies are Apple, Google and Facebook. The pigs are walking as tall as the men, but it's impossible to say which is which. God certainly laughs at anyone who makes plans, particularly if those plans involve music and technology. And the law of unintended consequences applies equally to the rebel as to the oppressor. Public Enemy changed the world, and they helped change the music business. With this record, they remind us that revolutions never end - that for every victory to savour there's always someone new to fight. One of those targets includes what Chuck calls 'corplantations.' On 'Those Who Know Know Who,' Chuck bellows: "Flipping the news got the people confused/Abusing all the rhythm, leaving us with the damn blues." Chuck says, "I feel like the government controls the media and the people are not being fed the truth. The subtitle for Yo! Bum Rush The Show was 'The Government's Responsible.' Today, it's like 'The Governments Are All Responsible.'" And speaking of album titles, Chuck says Man Plans God Laughs was inspired by a comment that the legendary Dr. Julius Erving made in a documentary for which Chuck provided the voiceover. "When Dr. J said it, he was referring to all his plans for him and his brother, and then his brother passed away. "That spoke volumes." Chuck says, "The message I got from that was, 'Stay humble.'" He adds that "the sonics on that track were inspired by Run The Jewels, Yeezus and Kendrick Lamar's latest works." It's a good bet that the track Mine Again will resonate with PE's African-American constituency. It stands as one of the album's most powerful jams. Chuck agrees that Mine Again is about an African-American having a conversation with himself about his African roots and sounding conflicted about his identity. "I wrote the song a decade ago after experiencing Africa and getting a handle on all the turmoil going down in the motherland. Yes I'm conflicted because it's been a continent of conflict." The jam was co-written and performed by James Bomb of the S1Ws who has written a few poems over the years, he says. "I guided him to write within the context of a conflicted person going back to his roots. To claim the motherland for the soul to provide service of helping folks in a war ravaged nation was the core of the song." Inside a reinvention of the PE sound - the result of the latest collaboration between the band and long-time producer/musical innovator Gary G Wiz - this album nods back to the anthems of the past as it constructs analyses of the present that can help shape our understanding of the future. Once again, Chuck and his band reassure us that there's nobody else we can count on to stand up for those values - political, personal, creative - that separate the conscious from the consumptive; no band better placed to keep on fighting the powers that be.
Deluxe reissue of Minneapolis rapper and Doomtree member Sims' first album Lights Out Paris, on the week of its 10-year anniversary. This deluxe edition double LP also comes with a huge fold-out poster containing full printed lyrics from the album for the first time ever. In addition to that, Doomtree has added a digital download card containing full album audio, plus Sims’ super rare 2004 False Hopes Four EP, and four brand new remixes from original Lights Out Paris producers Paper Tiger, MK Larada, Joe Mabbott, and Lazerbeak. Limited 200 quantity run of LPs Digital download card with three new remixes and "False Hopes 4," which contains 5 unreleased recordings from around the time this album initially came out 24"x12" fold-out poster with full printed lyrics and album artwork
Soundtrack to Spike Lee's 1988 film School Daze. The soundtrack peaked to No. 14 on Billboard's Top R&B Albums chart and features the popular tune "Be Alone Tonight". Continuing with its Respect The Classics campaign, UMe will be reissuing this classic soundtrack back on vinyl for the first time in over 20 years.
Yo! Bum Rush the Show is the debut album of American hip hop group Public Enemy, released in April 1987 on Def Jam Recordings. The group's logo, a silhouette of a black man in a rifle's crosshairs, is debuted on the album's cover. Yo! Bum Rush the Show features a sample-heavy sound by production team The Bomb Squad.The album peaked at number 125 on the U.S. Billboard Top LPs chart and at number 28 on the Top Black Albums chart. NME magazine named it the best album of the year in its 1987 critics poll. Along with the Beastie Boys Licensed to Ill (1986) and LL Cool J's Radio (1985), music writer Cheo H. Coker has cited Yo! Bum Rush the Show as one of three of the most influential albums in hip hop history. In 1998, it was selected as one of The Source's 100 Best Rap Albums. In 2003, the album was ranked number 497 on Rolling Stone magazine's list of the 500 greatest albums of all time.
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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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