Fourth Studio Album from the venerable New York emcee and producer. Includes features from Ka and production from Knxwledge, Arch Druids and Roc Marci himself. Time waits for no man, but venerable New York emcee and producer Roc Marci remains a rare exception to the rule. Enchanting listeners with his dexterous lyricism, methodically soulful beats, and steely persona on releases like 2010's critically-acclaimed Marcberg, and his revered 2012 effort, Reloaded, the pride of Hempstead, Long Island emerges from the shadows after a three-year hiatus with the equally spellbinding Rosebudd's Revenge. This is the rapper's fourth studio album. Aside from appearances on landmark releases, including De La Soul's Grammy-nominated And the Anonymous Nobody, and Ka's Days With Dr. Yen Lo, Roc Marci's presence has been scarce, making Rosebudd's Revenge one of the more anticipated hip-hop releases of 2017. Enlisting his band of collaborators to join him on every song on his last release, Roc Marci flips the script on his latest offering. Rosebudd’s Revenge’s lone features are frequent collaborators: Brownsville emcee Ka on the epic sparring session "Marksmen," and Knowledge The Pirate on "No Smoke." This uncluttered lineup gives Roc Marci ample space to deliver his tales from the strip. Key selections from Rosebudd's Revenge include the suave, keyboard-laden affair "Better Know," "Killing Time," "Pig Knuckles," and the hard-boiled title-track, and boasts musings that rank among the best of Roc Marci's tenured run. Spilling his fluid flow over production from the likes of Grammy-nominated producer Knxwledge, as well as George Paulin, Animoss, Don C, Modus Op, and himself, Roc Marci reaffirms his placement on the musical avant garde and standing as one of hip-hop's preeminent lyricists on Rosebudd's Revenge, a defining effort that will leave fans salivating for more.
Fin is the first solo album from The Internet's front woman and producer Syd. Fin was written and produced by Syd, and also features production from Melo X (Lemonade), Hit Boy, Haze, and Rahki. Fin is the bold next step in Syd's musical evolution, a brilliant album packed full of dark R&B bravado, and anchored by Syd's smooth-as-silk voice. The album and its songs are already receiving love from Rolling Stone, Entertainment Weekly, The Fader, the Los Angeles Times, Stereogum, The Ringer, Pigeons and Planes, Okayplayer, and many more. Fin is the first new music written and produced by Syd since the release of her band The Internet's Grammy-nominated album, Ego Death, in 2015. The record was hailed as one of the year's favorites by the likes of Rolling Stone, The Fader, Complex, NPR, USA Today, Los Angeles Times, Pigeons & Planes, Nerdist, Noisey, and many more, with the New York Times Magazine saying, ''The Internet has carved out an entirely new corner of R&B, thanks to [Syd]: an androgyne who sings seductive incantations about falling in and out of love...''
Cozy Tapes, Vol. 1: Friends is the debut studio album by hip-hop collective A$AP Mob. The album contains verses from each member of the A$AP Mob group such as A$AP Rocky, A$AP Twelvyy, A$AP Ant, A$AP Ferg, A$AP Nast, Playboi Carti and Yung Lord (A$AP Bari). A$AP Mob enlisted the variety of guest vocalists from Juicy J, Key!, Wiz Khalifa, BJ the Chicago Kid, Buddy, Skepta, Lil Uzi Vert, Lil Yachty, MadeinTYO, Offset, Tyler, The Creator and Yung Gleesh; as well as the album's production was provided by Hector Delgado, alongside several other record producers such as Juicy J himself, Crazy Mike, Dun Deal, Lil Awree, DJ Smokey, Plu2o Nash, Maaly Raw and Wavy Wallace.
The best art comes from the fringes. Easy signifiers and borrowed nostalgia will always sell, but the work that truly speaks to us, the songs that re-frame the ways we look at the world, always arise from those with one foot removed from our realities. That's where A7PHA comes in. Two celebrated veterans—Anticon co-founder Doseone and the esteemed underground rapper Mestizo—come together, the only ones strange enough to understand one another. A7PHA is the culmination of years of radical thought, lives lived on the knife’s edge. Their self-titled debut record (anchored by production from Alias) absorbs that left-field energy, splinters it into component parts, and re-assembles it into something uniquely human. Listen to “At The Altar”: a song built on steely, industrial instrumental pieces, but in its final form, you can practically hear the track inhale and exhale. The breaths are strung together by Doseone and Mestizo’s vocals, which flit back and forth from staccato and precise, to formless and gothic. Or check “99 Point Static,” where the track builds such steam that when the bottom falls out on the coda, you get transported through to the end on raw adrenaline. A7PHA does this over and over—building massive tidal waves of raw, immovable emotions, then turning on a dime, and leaves you scrambling to keep up. Few boast the pedigree to forge something so simultaneously listenable and invitingly bizarre. Doseone has spent two decades as one of hip-hop’s most inscrutable talents, working with a who’s-who of underground legends and establishing himself as one of the most dazzling technical MCs, chimerical lyricists, and creative visionaries. His contributions to A7PHA find him flexing all his undeniable vocal gifts: razor-sharp, rapid-fire cadences, an elasticity that unspools a vertiginous array of emotions. As a writer, he marries his cryptic strings of imagery to a frenzied search for something deeper. He pushes A7PHA as far as possible into uncharted territory. For his part, Mestizo grounds the proceedings, filling the songs out with flesh and blood. His vocals on “Sicked” set the tone for the rest of the album: dense, punishing, and propulsive. If Dose is busy sliding around the seams of a beat, Mestizo cuts directly through. The Philly resident is the stone-eyed center of the record, the steady hand on the wheel while everything around him burns. But as “Hater Hate It” makes abundantly clear, he’s not above some verbal acrobatics of his own. A7PHA isn’t made for upscale bars or low-key gatherings. It’s about shattering the facades around you, then staring, unflinching, and what’s left behind. It’s supposed to soundtrack minor mental breakdowns and house parties that permanently fuck up your security deposit. Doseone and Mestizo have something highly combustible on their hands, but for the time being, it seems that they know just how to handle it.
After two incredible EPs, Wayne Snow — the Nigerian-born, Berlin-based vocalist and songwriter — now presents his debut album on Tartelet Records. Freedom TV is the natural sequel to the Max Graef-produced tasters Red Runner (2014) and Rosie (2015); a project marinated in Afro-Caribbean, soulful grooves and topped by Wayne’s effortless falsetto acrobatics.
Addis 1988 is the document of a moment in time when mulatu astatke was not yet the global ethiojazz superstar he is today, but a change was gonna come for him, and for the whole world. in ethiopia, the derg had started to tumble and fall; europe saw the wall between east and West gain more and more holes until it came down; Southern Africa witnessed Apartheid taking its final lap before Nelson Mandela was finally set free. With Ofra Haza's Yeminite Songs and Mory Kanté's 'Yéké Yéké' high on the international charts, music of the wider world finally entered the house of Western pop, giving high hopes and deep inspirations for many musicians who were previously excluded.
Teengirl Fantasy, the duo of Logan Takahashi and Nick Weiss, return with ‘8AM’, their first full-length since 2012’s ‘Tracer’. ‘8AM’ is music that replicates that headspace when you’ve seen the sun come up, but sleep is still way off. It’s music of the in-between time, between tonight and tomorrow, when you’re not ready to let the feeling of right here and right now go. Your body is spent, but your spirit holds on to the memory. A new energy or a different route. The album takes the dream-state of Teengirl Fantasy’s 2010 album ‘7AM’ deep into the next day, stretching ambient themes in multiple directions, scattering with the morning light. ‘8AM’ is Teengirl Fantasy’s most introspective and abstracted work so far. It still pulses with the muscle memory of house and disco, slow-motion sub bass, chiming synth melodies, and the airy, perfumed chords of early techno, but takes a line of flight away from songs, immersing the listener in a gently invigorating space. Pieced together from evocative fragments and longer beat-driven tracks, the music is melodic and dreamy, yet sharp and clear. The only vocal comes from Khalif Jones (f.k.a. Le1f) who draws the album back from its gentle turbulence into a time and place on 'Seeds’. ‘8AM’ places the listener in a chilled delirium; one saturated with light, like when the glare from the sun’s too bright but you can’t stop squinting at it.
This new album by Sun Araw is a meta-physical romantic comedy of self about the roping & directing of cattle! "At the first campfire tucked in brush eurytion whistlin' his sleep behind him - one looks up and Orion looks back and one says you look an awful lot like me cowboy! And Orion says prove it."
LuckyMe proudly present the debut album from Jacques Greene - “Feel Infinite” Includes a fold out poster with new & exclusive artwork by Hassan Rahim “The essence of the record is to draw emotions and moments that above all, feel human within the context of dance music,” says Jacques Greene of his highly anticipated debut album, ‘Feel Infinite’. “I want it to be celebratory of all that we feel and do and experience - the beautiful, the good, and the bad.” Jacques Greene is the enigmatic, young artist who broke out of a generation of independent electronic labels Uno, 3024, Night Slugs and LuckyMe as a genre-defining producer and DJ (via 2011’s ’Another Girl’ – one of Pitchfork’s Songs of the Decade, 2013’s underground favorite ’On Your Side’ ft. How To Dress Well and 2016’s undeniable summer anthem ’You Can’t Deny’). Jacques Greene crafted a musical blueprint that inspired a generation who were raised on, and looked to bring together the intersection of contemporary music growing up in the 90s: hip hop, RnB, house and techno. At its heart, ‘Feel Infinite’ is a world of music connected to the utopian idea of club culture - music about the club, rather than specifically club music in and of itself. Written over the course of two years, this debut album is the purest, most personal expression of the Jacques Greene sound and emotion created by the born and raised Montreal artist, renowned for collaborating and remixing Tinashe, Radiohead, Sampha and Shlohmo. In 2016, Jacques Greene released the surprise single ‘You Can’t Deny’ to acclaim and adulation, a beautifully undeniable, soulful techno record, followed up with ‘Afterglow’, a euphoric club record - both of which are included on the album alongside a further nine stunning tracks.
Limited to 500 copies. S.A.S. being on the frontier of hip hop has allowed them to collaborate with their counter points in the U.S. Working on this project with the legendary producing team Blue Sky Black Death and other higher echelon artists like Roc Marciano, N.O.R.E. and Nacho Picasso, S.A.S. makes their present known wherever the receiver might be, making truly worldly music. “Celestial”, their new album with Man Bites Dog Records, is available in a limited quantity of 500 copies on Blue Vinyl in exclusive collaboration with hhv.de. The Deluxe Edition includes all instrumentals (one of it is more a dub version).
Kanzulu’s acclaimed “Beautiful: Opus Of Love Deeper Than Flesh” finally gets a proper reissue treatment in gatefold sleeve. Originally released on 2 seperate EP’s, the reissue comes as a 2LP vinyl set with an updated artwork by LGB5. Sureshot!
After the acclaimed and long sold out 3LP edition, we are now pleased to offer a 2LP edition of Kankick’s debut from 2001. Lots of jazzy compositions here, complete with trumpets, classical guitars, flutes, organs, rolling basslines, and some classy MCs. The Visionaries, Krondon, Planet Asia, Declaime, Phil da Agony, Dr. Oop, and Wildchild from Lootpack all drop verses. Kan Kick is a hip-hop producer from Oxnard, CA. He was once a member of Lootpack, but has gone on to work with Declaime, Tha Alkaholiks, and DJ Babu, among others.
SJOB Movement's Friendship Train was the second LP by the group and one which saw the group rise to new heights. It's a masterpiece of African music with it's fluid afro beat grooves and spaced out Moog synthesizer sounds. Here is an excerpt from the liner notes written and researched by Uchenna Ikonne: "Prince Bola Agbana might hardly be the most immediately recognizable name in the constellation of Nigerian music stars, but for a significant portion of the last half-century he labored in the shadows, dutifully serving as one of the key movers in its development: An in-demand session musician. An early and respected exponent of funk. A catalyst in the retrofit of juju into a modern pop genre. Most of all, though, he is recognized as the founder, leader, drummer and principal vocalist of the SJOB Movement. SJOB: Sam, Johnnie, Ottah, Bola. For a moment in the mid-1970s, they were le dernier cri in modern Nigerian music, representing the next step in the evolution of afro rhythms, and a new paradigm for the band economy. Their first album, 1976’s A Move in the Right Direction, was a minor sensation and was swiftly followed by Friendship Train in 1977. Then it appeared that the movement stopped moving, and SJOB disappeared from the scene."
Funky DL ignites his renaissance project to A Tribe Called Quest’s 1993 classic album “Midnight Marauders”, with his brand new album... “Marauding At Midnight: A Tribute To The Sounds of A Tribe Called Quest” This boom-bap bonanza comes in the form of a completely samplefree remake of the entire “Midnight Marauders” album, and after spending the summer of 2016 in the studio studying, dissecting and re-creating all the original samples Tribe used, DL laced the colorful and melodic grooves in true hip-hop style adding harmonic vocal chants over the beats. His aim was to strictly follow the original Tribe arrangements, - but without sampling any breaks - to garnish subtle touches of musical magic, providing his own lift and vibe for each track. The November 2016 surprise release of Tribe’s “We Got It From Here... Thank You For Your Service” makes Funky DL’s tribute to arguably the greatest group in Hip-Hop history more poignant and demonstrates DL’s exemplary but serendipitous timing for this project.
The Greek beat-head massive is represented once again on the Cold Busted label with Beatbop Street. It’s an album from the cool new project AndyFellaz, a collaboration of Athens-based producer Billa Qause (Beatquick) and percussionist Nikos Martziokas (Wolfy Funk). Influenced by ’90s hip hop, trip hop, Latin montunos, jazz, and lounge, the pair have delivered fourteen exciting cuts that groove and shimmer with the best of ’em. Highlights include the melancholic skank of “Just One More Time”, “Rumbetas”’s classic acid jazz style, the funky swing of “Two Weirdos”, and “Madrugada”’s dreamy cosmic salsa. The set also includes contributions from Wolfy Project’s bass player Konstantinos Stamou, as well as Yegor Cergei who reveals an elegantly cut-up remix of “Just One More Time”. Beatbop Street will satisfy the hip hoppers, the loungers, the jazzers … pretty much any fan of funky downtempo will be convinced by AndyFellaz. Dig it.
In All Things is the first full length album from Columbia Nights, a self-described “soultronic” production group. Since releasing their critically acclaimed debut EP Dawn | Dusk (Record Breakin’ Music) n 2012, John E Daise, Jason Edwards and Hayling Price have shared the stage with the likes of KING and THEESatisfaction while developing their own sound. After building a local buzz, the Washington, DC trio’s blend of production wizardry and live instrumentation has led Okayplayer to dub them the District’s “resident electro-funkateers.” On their 10 track LP, the fellowship’s expansive musical palate shines through compositions that have been nurtured for several years. Grounded in a healthy stockpile of vinyl records, the sound-travelers have crafted a cohesive statement adorned with infectious bass grooves, far-out synths, and lush string arrangements. The trio describes the album “a testament to the interconnectedness we all share and the power of music to forge those bonds… Our name is reflective of the space and the time in which we create, and our work is undoubtedly a product of this environment. We formed Columbia Nights to help advance the art we love, and to challenge listeners to demand more from the music they engage with.” Featuring collaborations with vocalists including Aaron “AB” Abernathy, B.Jamelle, and Diggs Duke, the record also features some of soul’s most innovative and independent new voices.
The Jazz Jousters collective was formed in June 2012 by Millennium Jazz Music’s founding manager Gadget, who challenged the group to sample certain Jazz tracks while paying tribute to a different Jazz great in each session and releasing the submissions via the MJM label. This resulted in a new album consistently being released digitally every two weeks for the first two seasons, and then monthly in their third season in 2015. At this point all involved agreed that it was time to honor the listeners cries and attempt to put out some physical material in season four, The first of which was the 25 track compilation‘The Vault-Best of The Jazz Jousters ’double 12” managed by MJM & HHV.de to celebrate the past three years of tribute albums. Season four was a ten part cassette series called ‘Locations’ which focused on Jazz from various countries such as, Japan, Brazil, Italy, Germany, France, Nigeria, Poland, Canada, Cuba and concluding with England.All volumes sold out and often had to be restocked.The success of the Locations series enabled MJM to press the Jousters first official 12” vinyl album entitled ‘Endurance’, released in May 2016. After a well deserved break to focus on individual projects, the Jazz Jousters collective have returned for their fifth season to do another Locations series, but this time on vinyl. Locations: USA is the first of that series, and the saga continues!
IMYRMIND’s debut album Uniwersum Luxus surfaces at record stores worldwide courtesy of Berlin-based Money $ex Records. Idiosyncrasies of both IMYRMIND himself, and indeed the label as a whole, seep through the fabric of the album; a patchwork of tasteful re-appropriation and sophisticated originality. Covering a broad landscape of raw, gutsy minimalism, mesmeric synthwork and trademark ultra-loose beat-making, IMYRMIND has crafted a record that embodies his rapacious ear and well-groomed production style. In a maturation of techniques explored across earlier releases, borrowed organic textures meet frazzled analogue electronics and clunky, lagging beat iterations in a collection of tracks ranging from the quivering to the aggressive. Uniwersum Luxus is a bright convergence of influence and innovation, all reverberating within the echo chamber of the Money $ex world; self-aware, playful, and at times even ironic. IMYRMIND is the pseudonym of David Wegner, 29 year old Bochumborn Berlin resident and Money $ex family member. With early releases on Tartelet, Odd Socks and Box Aus Holz, IMYRMIND’s debut album drops via home label, Money $ex Records.
Clutchy and Fatty....High desert crunch meets city life punch for this collaborative project in sound. Instrumental elements of soul, jazz, hip-hop, rock and more resonate throughout the record. Just what any Clutchy Hopkins or Fat Albert Einstein fan would ask for; track after track of laced up loveliness. These two gents pair banging rhythms with lush melodies and top them off with their signature low brow high fi sound. Guaranteed for some straight nasty. Acoustic and electric instrumentation set the tone and in their individual styles; Clutchy and Fatty navigate your journey through psych folk caverns of cactus dust and marine layer funk with bloodshot rust. It is distinctive, original and fresh, paying homage to the past, present and future. Visionary folk funk.
The incredible team from MSXII Sound Design is back once again with another sought after vinyl release. The Breaks Collective Vol. 1 features some of the most unique, creative, and original breaks around. From traditional styles with great texture to future, glitchy, analog driven distortion, this collection of breaks is the most eclectic you’ll find.
“The Dominatrix Sleeps Tonight” has a long and storied history among connoisseurs of ‘80s New York dance music. Combining catchy, deadpan synth-pop and classic ‘80s electro hallmarks with the provocative edge of leather-and-lace sex culture, it remains a worldwide dancefloor staple to this day. Despite its popularity, little has been known about the song’s background. The brainchild of producer Stuart Argabright (nee Arbright, a member of the groups Ike Yard and Death Comet Crew); alongside DJ and remixer Ivan Ivan; Kenneth Lockie (from Cowboys International, and early Death Comet Crew); and vocalist Claudia Summers; the song’s dominating female subject was based on a person whom Arbright had dated. The song – and a banned-by-MTV video that today could be mistaken for a Victoria’s Secret commercial – became a club smash at famed Danceteria and other urban meccas. But, despite some leather-clad live dates in 1984, the group itself was short-lived. This special Get On Down vinyl edition is sure to be coveted by fans and collectors. This configuration has never been available before: beyond four original mixes of the song (12”, Chants, Dominant and Beat Me) that fans know and love – this full-length LP includes the newly unearthed song “Play It Safe” and the rarely heard, hypnotic “City That Never Sleeps,” in addition to the rare 1984 “Scratch Mix” of the original title song, with cuts by the legendary DJ Red Alert. The deluxe vinyl package is accompanied by a 16-page glossy booklet with text by writer Dave Tompkins and input from Argabright and Ivan Ivan. Additionally, fans will be thrilled into submission by visuals and press clips relating to the original release on Arthur Baker’s Street Wise Records; the song’s provocative video; as well as the dominatrix culture in New York City at the time which inspired this unlikely smash hit.
As music fans know, James Brown wasn’t just the greatest funk and soul singer the world has ever seen – he was also a musical visionary and businessman, who surrounded himself with geniuses who made him better and pushed him further. From horn masters Maceo Parker and Pee Wee Ellis to vocalists Lyn Collins and Bobby Byrd, Brown was a musical A & R master, restless and always looking for the next big thing. Most times, that would manifest in the latest James Brown smash under his own name. But not always. His stable of talent was overflowing in the ‘60s and ‘70s, and, thankfully, the tape machine in his studio was always rolling. Originally released in 1988, during the era of hip-hop’s golden age of sampling, it’s no surprise that just about every note heard in this incredible collection has been used on not one but multiple rap classics. Which, at the time, was proof of Brown’s (and his crew’s) staying power. But we’re almost three decades beyond those days now, and it has lost none of its musical potency. Diving deeper into the vaults than the also-incredible Part 1 of the Funky People series, there is not a weak track in the bunch. Moving beyond well-known JBs cuts, things get interesting from the get-go with Bobby Byrd’s monumental groover “I Know You Got Soul.” Hank Ballard and Marva Whitney also enter the fray, leading the way to Myra Barnes’ emotional and powerful “Message From The Soul Sisters (Parts 1 & 2)” and Lyn Collins’ slow, smoldering cover of Isaac Hayes’ “Do Your Thing,” Politics even get the funky soul treatment, with Fred Wesley & The JBs’ “You Can Have Watergate But Gimme Some Bucks And I’ll Be Straight” and “I’m Paying Taxes, But What Am I Buying?” And it should not be overlooked that Maceo & The Macks’ instrumental workout “Soul Power ‘74” even features a proto-sampling snippet from MLK’s “I’ve Been To The Mountaintop” speech from 1968. This is another amazing collection of James Brown’s funky friends, without one second of filler, brought to you as a glorious 2-LP gatefold by your friends at Get On Down.
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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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