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
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!
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
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.”
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.”
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.
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.
Triple vinyl with custom tri-fold jacket, full color printed sleeves, complete album lyrics, and free digital download card. Features MF DOOM, Aesop Rock, Kool Keith, The Grouch, deM atlaS, and more. As Atmosphere steps into their 21st year of making music, Slug & Ant show no signs of slowing, compromising or losing sight of their vision. Nor has time revealed any diminishing of those qualities that have brought them this far. After ending the previous year with a string of singles that led well into 2016, they still have an abundance of music on the way, including their latest album, Fishing Blues. The title of this new album may cause one to question; Is this the point in the career where Atmosphere chooses to step back, put up the Gone Fishin’ sign and reminisce about their successes? The answer, a resounding no, is found in the music, a collection of songs that both dene and redene the Atmosphere sound. Their passion and creative spark are as illuminate as ever. Slug and Ant still have plenty of stories to tell…
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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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