RIP Chrysalis is Alexandra Drewchin's second full-length album under the Eartheater moniker released on Hausu Mountain in 2015. At any given moment, an Eartheater composition reads somewhere between a folk song, a musique concrète collage, and a filmic suite fit to soundtrack a cosmic montage that only she can imagine in full detail. Her intricate ballad arrangements rise from standing pools of hi-fidelity synthesis, while her dynamic vocal performances span an untold number of tactics and tonalities. Eartheater builds layered electronic productions possessed of enough detail to constitute stand-alone worlds, each weighted thick with text and texture.
From Ras_G: The God Spell Beat tape just happened. I always make quick freestyle beats at work. I work at a "WrekaStow" so I'm always surrounded and listening to random records and after my Bluntch breaks. I would come in make a few quick joints on my SpaceProgram 303 And I just ran thru the gospel section that round and in 2 weeks I Had.”
LoFidel’s newest beat tape to compliment the long hot summer. Filled with retrospective themes and lots of 90s pop culture, this 35 minute tape symbolizes the ups and downs of relationships from both perspectives. Perfect for your next date with the honey to the shoreline so you can test that new ghettoblaster you just bought... LoFidel never comes up short on basslines. Features exclusive cover artwork by world famous “FRKO RICO”. UNISEX, ONE SIZE FITS ALL
A few months back I was listening to a project by the homie Coss, and one of the beats kicked my ass. I hit up Coss and asked him who made the beat. ReallyNathan made the beat. I had him link us. I had him send a folder, and a couple weeks later I built "LoveNWar". Really Nathan is really dope. You can hear his love of creating in his work. Creating to create. To provide a soundtrack. For life – House Shoes
Surprise beat tape from Damu the Fudgemunk, Untitled Volume 2, a 12” picture disc. This marks the second installment in Damu’s Untitled series following the release of Volume 1 in July. In a nutshell, Untitled Volume 2 is a collection of music Damu assembled specifically for his longtime fans. All of the music / versions showcased on Untitled Volume has never been officially released, yet some of it may have been exposed over the years from various live videos, through word of mouth and a couple leaked mp3’s. The project was curated by Damu with the intention of packaging some of his most personally dear and sought after work on one title. If you have been following the Fudgemunk and Redef for the last decade, then the assembled music should immediately remind you of the journey. Also available on Cassette as Untitled Vol 1 & 2 with a bonus track.
J-Zone, self-proclaimed “jack of all trades, master of zero,” may be familiar to you for any one of his six lives: Indie hip-hop’s class clown; an offkilter producer with his own identifiable style; a frustrated music business casualty who penned a nervy memoir about the life of the working class musician (Root For The Villain); a tongue-in-cheek, encyclopedic music journalist; a late-blooming drummer with a knack for channeling the spirit of classic break beats or a DJ with a deep love for funk 45s. On his seventh solo album (and twelfth overall), Fish-n-Grits, J-Zone visits all the stops of an artistic and musical journey that spans well over two decades. Comprised of both limited edition 7” vinyl-only releases (dating back to 2014) and all new material, Fish-n-Grits is equal parts vocal and instrumental. The New York native uses his rap time to pick fights with the delusional state of the music industry, gentrification, the good and bad of nostalgia, police brutality, political correctness and hiphop’s generational conflicts, but never without his signature brands of humor and sarcasm intact. As a student of samplers, drummer, multi-instrumentalist and collector of archaic studio gear, Zone was able to chef Fish-n-Grits into his most sonically versatile album to date. A stew of dirty, funky live drumming, bizarre samples, pulsating percussion and menacing bass that stretches in vibe from a circa 1969 funk instrumental to a twisted, analog interpretation of trap music, Fish-n-Grits has moments inspired by just about everyone. It’s obvious that The Meters, Prince Paul, The Incredible Bongo Band, Project Pat, Kool and the Gang, Public Enemy, George Clinton, Kool Keith, Bernard Purdie and Tim Dog have all carved out space in Zone’s music library, but the sound remains his own. J-Zone’s zany alter egos (Chief Chinchilla and Swagmaster Bacon) also get booth time, as do long time collaborators Al-Shid, Prince Paul and Has-Lo. Serving as a bridge between Zone’s 2013 comeback offering (Peter Pan Syndrome) and a forthcoming group project with Prince Paul and Sacha Jenkins (SuperBlack), Fish-n-Grits captures his development as an artist and musician, with occasional nods to the past.
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.
This 4-track EP looks back at the post-disco boogie sound while steadfastly looking to the future. Working with producers Isaac Gálvez, Taste Nasa and Rollergirl!, Boulevards has delivered on his promise for party jams. The infectious two-minute incessant bass hook of "Got to Go," the future electro of "Forgot to Mention," the mid-tempo groove of "Honesty" and the Bootsy Collins-meets-Quincy Jones-in-2015 attack of "Sanity" lay down the template for the Shape of Funk to Come. And the funk to come will be Boulevards.
The debut EP by the former Makeout Videotape singer that started it all: Mac DeMarco's Rock and Roll Night Club.
When the then 21-year old Mac DeMarco released his debut Rock and Roll Night Club 12? in the Spring of 2012, it was accompanied by a barrage of bizarrely funny promo videos, wildly unhinged live performances and a not-so-subtle disparate range of promo photos. The glam facade was purely that, an image that was manufactured for fun to confuse the stiff and compartmentalizing world of indie music journalists. But it wasn’t all a jest, as that EP covered a whole range of music styles that were latent in the ex-Makeout Videotape frontman’s already impressive slough of cassette-only releases. The sincere and warm Mac who sang 'Only You' was the same lipstick-wearing sleazoid that crooned 'Baby’s Wearing Blue Jeans' and that suited him and his listeners just fine. Six months after the release of Rock and Roll Night Club, Mac is back with his first proper full length, 2. As opposed to RNRNC, 2 is a concerted effort to produce a cohesive work that showcases Mac’s natural ability as a songwriter, singer and producer. With a new arsenal of recording gear, the fidelity has substantially improved without compromising the immediacy and organic quality of his prior releases under any monicker. The results are immediately rewarding, from the warm 'Cooking Up Something Good' to the heartfelt 'My Kind of Woman.' It’s obvious Mac is presenting himself musically in the most sincere way possible, no matter what happens in his wild videos or live shows. 'Freaking out the Neighborhood,' Mac’s apologetic ode to his loved ones about such public behavior, shows that Mac DeMarco is still with us, coming along for the ride, getting everyone else in trouble. Even so, the maturation process of Mac DeMarco, recording artist, is in full swing.
DIIV is the nom-de-plume of Z. Cole Smith, musical provocateur and frontman of an atmospheric and autumnally-charged new Brooklyn four-piece. Recently inked to the uber-reliable Captured Tracks imprint, DIIV created instant vibrations in the blog-world with their impressionistic debut "Sometime"; finding it's way onto the esteemed pages of Pitchfork and Altered Zones a mere matter of weeks after the group's formation. Enlisting the aid of NYC indie-scene-luminary, Devin Ruben Perez, former Smith Westerns drummer Colby Hewitt, and Mr. Smith-s childhood friend Andrew Bailey, DIIV craft a sound that is at once familial and frost-bitten. Indebted to classic kraut, dreamy Creation-records psychedelia, and the primitive-crunch of late-80s Seattle, the band walk a divisive yet perfectly fused patch of classic-underground influence.
Chaucer is the soundtrack to the John Hughes movie that is being made right now about your life. Chaucer is like if Randy Newman and Cole Porter and Weezer all had a sex baby. Chaucer is like the lost Ramone cousin who got stuck growing up in Florida. Chaucer is a ladies’ man, but he don’t give it up for free. Chaucer would give you a ride home if your friends left you behind. Chaucer needs you, but do you need Chaucer? Chaucer is actually the musical child of Josh Simkowitz, and ICED is his sophomore record. Josh lives and records in West Palm Beach, and creates at a feverish pace. In fact, we just got word that he finished a new album since we started this write-up. One part sundrenched surf punk, one part chamomile tea, Chaucer is poised to be your new favorite band.
Raised in the most roaring area of Central Florida, Ghost McGrady began producing music on a pirated version of FL Studio as a curious twelve-year old. Taking early influences from Dilla, RZA, Kanye West, and many more, Ghost found his own style during high school by layering and blending various samples and crafting new soundscapes. After catching some serious attention producing for the likes of Bishop Nehru and Boldy James, and releasing a multitude of remix projects and beat tapes on his Bandcamp, we are thrilled to release Fugue State, which we believe to be his most mature work yet.
The definitive collection of breakbeats and drums, as sampled by countless hip-hop producers, finally available on cassette. 300 of the most essential and rarest drum breaks of all time remastered from the original records and ready for sampling and chopping. An impressive selection of timeless breaks including multiple versions of "Get Out My Life Woman," and "Sing A Simple Song," staples like "It's A New Day" and "Ashley's Roachclip" and hundreds more rare and classic breaks. All The Breaks has done the hard part for you and trimmed these songs down to just the essential parts where you can chop and sample the kicks, snares, high hats, cymbals, and fills with ease. Whether you are making hip-hop, r&b, electronic, or anything really, All The Breaks is an excellent resource for finding the right drums for your tracks. Even if you're not a producer, this is a must have collection of sounds, and a way to better understand the foundation of hip-hop music. Like Egon said: "Damn, they've just made it TOO EASY." Highly recommended.
2004 major label debut and second full-length release overall, Three Cheers For Sweet Revenge, established My Chemical Romance as one of the most talented and unique bands of the mid 2000’s. Produced by Howard Benson (Motorhead, All-American Rejects), the band combines the best of punk, metal and emo here to create a big sound that brought hope to darkness just when we needed it the most complete with an abundance of sing-along choruses and a relentless two-guitar attack. Home to the three MCR breakout singles “I’m Not Okay (I Promise),” “Helena” and “The Ghost Of You.”
My Chemical Romance conquered the globe in 2006 with their platinum-selling third album, the bombastic and bleak The Black Parade. Serving as the follow-up to their 2004 platinum major-label debut, Three Cheers For Sweet Revenge, the record "is way more dramatic, way more theatrical, completely over the top, borderline psychotic," explains frontman Gerard Way. "It's the most pure, intense thing we've ever been involved in." Produced by Rob Cavallo (Green Day), The Black Parade is a celebration of love, death and darkness and includes the four singles "Welcome to the Black Parade," "Famous Last Words," "I Don't Love You" and "Teenagers."
Limited Edition Cassette “Beats From The Golden Era” is a full length instrumental album by the legendary NJ Hip Hop Producer & Emcee Tony D. This album displays Tony’s depth as a producer with tracks filled with deep bass & melodic samples accompanied by hard hitting drums, staying true to the Golden Era soundscape that he was known for. All tracks were produced by Anthony “Tony D” Depula, who passed away on April 4th, 2009. This album was previously only available digitally, now available for the first time on a limited edition cassette perfect for blasting in your Walkman, Boom Box, Car or Stereo System!. “Tony D. achieved something that most hip-hop producers never do: His beats sounded like he made them. It’s hard to describe his signature sound: the little slap delay he gave to his kick drums; his collage-art choruses pieced together from two, three, or more different sources.” - Excerpt from the liner notes written by Dan Charnas, a former record executive and one of the first writers for The Source, is the author of The Big Payback: The History of the Business of Hip-Hop (New American Library/Penguin) and the co- author of Def Jam: The First 25 Years of the Last Great Record Label (Rizzoli), and the executive producer of VH1’s "The Breaks.” Tony D produced the Golden Era Hip Hop artists Poor Righteous Teachers & YZ. He also produced records for DJ Muggs, Too Kool Posse, Blvd. Mosse, Scott Lark, King Sun, Dungeon Lordz, Blaque Sperm, Shawn Lov, Outsidaz and many more. Tony D released his 1991 solo album “Droppin’ Funky Verses” (4th & Broadway/Island) and was part of the group Crusaders for Real Hip Hop with their “De Ja Vu It’s ‘82” 1993 album (Profile Records). He also produced some abstract Hip Hop records for the UK Grand Central label. Tony D produced and released the 2006 Poor Righteous Teachers “Rare & Unreleased” album & the recent Black Prince & Aziatic “Roger Gardens” EP (CCR-008) on his Cha-Ching Records label.
Limited Edition Cassette Attention Cassette collectors worldwide: Back again is Large Pro with Beatz Vol. 2! A new batch of soulful street beatz that real hip hop fans will love. Included on this project are the soulful "Xtra P For President”, “A Cain't Stop”, and “Don't Change" and the Bonus Tracks “Disco Club” (Black Eyed Peas) and “Hood In The USA” (Jurassic 5). True B Boy flavor rocks on with Beatz Vol. 2 by Large Pro. This Limited Edition Cassette was originally released in 2007 on Double Vinyl and CD that are now out of print. Beatz Volume 2 is a must have for Rappers, DJs or fans of original Hip Hop in its purist form. Length: 60 Minutes Large Pro aka The Large Professor / Extra P has helped launch the careers and produce some of today’s finest hip hop artists such as NAS, Kool G Rap, A Tribe Called Quest, Pete Rock, Slick Rick, Busta Rhymes, Tragedy, Diamond D, Akinyele, Common, Beastie Boys, X-Ecutioners, Mad Skillz, Cormega, Styles P, Black Eyed Peas and many more. P was also a member of the classic group Main Source, creating the timeless 1991 album “Breaking Atoms” (Wild Pitch). During the 1990s while producing hits and remixes for various artists P had several solo career bangers such as “I Juswannachill” & “The Mad Scientist” (Geffen Records). In 2002 he released a solo album “1st Class” (Matador Records) and then “Main Source” in 2006. In 2009 he officially released his now classic debut album “The LP” (PSP- 006). In 2010 & 2011 he collaborated with Neek The Exotic on 2 albums and then followed up with the solo albums “Professor @ Large” (2012) and the recent “Re: Living” (2015).
In an era where the most talked about albums often sound like the result of a ‘marketing to millennials’ focus group algorithm’ed from Soundcloud favorites and Facebook interactions, there’s nothing more refreshing to the human spirit than the raw, honest feel that can only be found in the music of an artist like Jon Bap. Starting out on a heavy regiment of making beats and writing raps daily, Jon eventually went on to learn guitar to help forge a more unique sound to his production. Playing around with that for long enough, he then dug even further back in to his Gospel-inspired roots, adding live drums, bass, and keys into his repertoire as well. A handful of tracks culled from these preliminary creative fires would be compiled into his debut EP, ‘Let It Happen,’ an ode to creative freedom which Jon self-released here on Bandcamp at the end of 2014. With no marketing or social media push put behind it, the EP still managed to make its way to a few essential ears - among them: rapper/producer like of Pac Div, a number of musicians in Erykah Badu’s band, reportedly even Andre 3000 himself - and ultimately, onto our radar here at Fresh Selects. So moved by this raw talent in-the-making, we’re now proud to be giving ‘Let It Happen’ the proper re-issue treatment with a worldwide digital release and an intimate run of cassettes. Backed with an exclusive new B-side to the project, consisting of instrumental demos lost in a hard drive crash before Jon could cut vocals to them, lovingly dubbed, ‘Almost Happened’ - Jon’s debut offering will now be given a second go at finding the audience that so desperately needs this in their music collection, whether they know it yet or not. Jon even got to put his art school background to good use, painting his own nude self-portrait for the project’s cover, and designing the album packaging himself. Catch Jon Bap as a supporting act for spot dates on Hiatus Kaiyote’s US tour August 2016!
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Maticulous delivers his 4th instrumental project entitled, “The Chrome Tape.” Having produced songs for the likes of MF DOOM, Masta Ace, Blu, RA the Rugged Man, Rah Digga, Fame (M.O.P), Guilty Simpson & many more, this cassette ensures that you will experience quality, diverse instrumental hip hop. Pop the tape in the deck, roll the windows down, and turn the speakers up! Side B contains instrumental versions of the previously released, “The Manual EP” by Audimatic (The Audible Doctor & Maticulous). All songs produced by Maticulous (Exclusively available on the cassette.)
Limited to 150 Double-Tapes! Each Tape is housed in its own cover, both together in a double-cassette case! One Tape Yellow & One Tape Blue Colored - like the colours of the University of Michigan! "Masters of the Universe" is the Hip Hop Classic from the American duo Binary Star (One Be Lo, Senim, OneManArmy, Decompoze)! Pre-Motu tells the legendary story surrounding the genesis of Masters of the Universe with Interviews, Samples, Drums & much more Bonus Content. Over 150 minutes of playing time build a great foretaste for the upcoming Re-Issue of the mad rare Motu Vinyl 2LP! Another Must-Have for Fans, Producers & Diggers!
Drugs Beats follows up his Street Corner Music debut, The Gift Vol. 10, with Naloxone: The Save Shot. Containing over 75 minutes of slaps, this dosage continues the Grammy nominated producer’s catalog of filth. It can be easy to overdose on the music of today, but a shot of Naloxone to the heart will bring you back to life. Every time.
The beats and rhymes that came out of the northern Queens projects in the early- to mid-90s were stark and vibrant, a reflection of their environment. Producers like Marley Marl, Large Professor, and Havoc of Mobb Deep used an extensive knowledge of black music from the late 60’s to the early 80’s to produce new sounds.This is a definite link to the jazz legacy of the African American communities throughout Queens, NY--places like Corona, East Elmhurst, and Saint Albans where Louis Armstrong, Lena Horne, John Coltrane, and James Brown all lived at some point in their lives. These producers started with records that perhaps their parents had and used their creative ingenuity with technology to create a fresh sound that still sounds new today: e.g. the Ahmad Jamal sample on Nas’s “The World is Yours,” or Mobb Deep’s “Shook Ones Part II,” with its electronically modified snippet of Herbie Hancock. This era of hip hop can be viewed as a continuation of the jazz legacy of black Queens. Lexiglass explores these aspects on their new tape Mobb Phonics, played live on keys and drums. Focusing mainly on Mobb Deep (Queensbridge) but also incorporating other areas of the northern Queens sound from Lefrak City to Corona and even Flushing (Kool G Rap, C-N-N, Large Professor), the band wields a Wurlitzer and minimal drum kit to brutalizing effect while highlighting the jazz and improvisatory roots of the music. These 9 songs are live, instrumental interpretations from the golden era in northern Queens. Lexiglass has brought raw instrumental hip hop playing to shows at tattoo parlors, sneaker spots, bookshops and lounges across upper Manhattan, with occasional, damaging forays into lower manhattan and Brooklyn. They have improvised performances with the free jazz hero Daniel Carter and the hip hop legend T La Rock. This is the second volume in their all-analog Cubetazo tape series, produced with no overdubs and no computers--just raw live beats on tape.
These are fighting times, people. We are surrounded by grit, spit, and bloody war, but in the distance moving forward is The Black Angels. Passover, The Black Angels debut album, speaks of real-life horrors, death, and destruction with doses of love, sex, and healing. Don’t lose track, these are caring times as well. Formed in 2004 and hailing from the mescaline-infused outskirts of Austin, Texas, this gang of musical misfits has been on the road non-stop since their birth, performing at such renowned venues as Sin-e, Middle East, and Spaceland. In early 2006, the band’s self-titled debut EP was dubbed highly recommended in Spin Magazine while receiving heavy radio airplay on such influential stations as KEXP and BBC Radio 1 by Zane Lowe. Growing in spades since their EP, Passover showcases a band on the make. Spiraling upwards to the skies with the enemy straight on their trail, “The Sniper At The Gates Of Heaven” sees The Black Angels reaching high and stretching out with trance-inducing guitar lines from Christian Bland, Nate Ryan’s filthy medical dumpster bass, and the grizzly preacher vox of lead shaman Alex Maas. “Black Grease” is a bluesy monster full of swagger propelled by the primitive beat of drummer Stephanie Bailey and the mourning drone of organist Jennifer Raines. 10-songs deep, Passover has come again. Reflecting and questioning the intergenerational psychosis of American social life that surrounds us, The Black Angels put forth their answers in song. It’s a “Call To Arms” for those ready to join the good fight, a rock ‘n’ roll salvation during the times we need it the most. As Maas bellows on “Young Man Dead,” “Fire for the hills, pick up speed, and let’s go…”
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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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