One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music. There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t “Feelin’ Bitchy” until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade. Ms. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ‘60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix — personally inspiring the classic album ’Bitches Brew.’ But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as “If I’m In Luck I Might Get Picked Up” and “Game Is My Middle Name.” The album Betty Davis was recorded with Sly & The Family Stone’s rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.
Debut release from all-star Swedish band Hashish, with amazing sounds to transport you into a forgotten world where the future looked different from what it became. Psychedelic rock mixed with Moog afro-funk moves and vintage synthesizers. Take off to another world with Hashish! Limited edition of 300 copies.
Herbie Hancock is one of the most prolific jazz pianists of the 20th century. A child prodigy, he played with the greats such as Donald Byrd and Miles Davis. As he was a bit of a geek, he enjoyed gadgets & buttons and he was one of the first to embrace and master the electric piano, but he always stayed true to the acoustic sound. In fact, he always bounced back and forth between his electronic and acoustic sound, touching upon almost every development in R&B, Funk and Jazz while retaining an original and distinctive voice.
Limited reissue, with peel-able banana jacket. Although Warhol, who was listed as producer on the album, allegedly gave the Velvets free reign over their sound, it was on his insistence that Nico performed on this album. However, this does not detract from the fact that when this album was made the Red Sea parted, and the Velvet Underground crossed into the Promised Land.
LP reissue contains photo insert and liner notes by Thurston Moore of Sonic Youth. Suicide's landmark self-titled LP was originally released in 1977, seven years after the group's initial conception as part of the performance art scene on the Lower East Side. It is hard to overstate the importance of the seven tracks on Suicide, which paved the way for punk, industrial, hip hop, noise and beyond. "Ghost Rider" accelerates with brutal anguish and desire for everything rock 'n' roll. Martin Rev's utterly singular "instrument" pounds out a synthetic soundscape, while Alan Vega's oversaturated vocals obsess over motorcycle getaways. "Rocket U.S.A." distills the duo's dynamic power down to a ghostly pulse, while the psycho-drama of "Frankie Teardrop" (Bruce Springsteen's all-time favorite song) delves even further into cinematic storytelling and, at the same time, clears the room at the end of the night. Superior Viaduct is honored to present Suicide - restored from the original mixes, fully sanctioned by the band and with liner notes by Thurston Moore. If there can be a quintessential New York band, it is without a doubt Suicide.
Steve Reich remains one of the most important figures in 20th century music. Though he studied at the prestigious arts institutions Julliard and Mills College, by the mid- 1960s Reich set about dismantling the very orthodoxy that he had been trained in. Forming a new musical language based on repetitive processes, Reich became established as part of the so-called 'Big Four' of New York minimalists (along with La Monte Young, Terry Riley and Philip Glass). Reich's influence can easily be seen today in both the classical world and contemporary pop music. 'Four Organs' is the ultimate minimalist composition. Performed by Reich, Glass, Art Murphy and Steve Chambers, four identical Farfisa organs strike a single chord and gradually lengthen each note to produce polyrhythms between the players. Anchored by Jon Gibson's stoicallysteady pulse on maracas, the piece deconstructs its opening burst to a sustained mass of sound -- stretching the tones to create (in Reich's words) 'slow-motion music.' Inspired by Reich's early training on drums, 'Phase Patterns' treats the keyboards like tuned percussion instruments: a basic rhythm pattern is played in unison and almost imperceptibly increases tempo to move out-of-sync. Each progressive cycle emphasizes unique figures that are not generated by an individual alone, but rather emerge from the communal expression of the group. Originally released on Shandar in 1971, Four Organs / Phase Patterns is one of most highly regarded avant-garde recordings in the past 45 years. This first-time vinyl reissue features cover photography by artist Michael Snow and is recommended for fans of Neu!, Glenn Branca and Tim Hecker.
Gatefold double LP version. Includes a 12-page booklet. Analog Africa presents a compilation of dancefloor grooves from Cabo Verde, revealing the mystery behind the island's cosmic synth sound. Located 350 miles off the coast of Western Africa, Cabo Verde (or Cape Verde) is an island country that was first incorporated as an overseas department of Portugal in 1951 before later attaining independence in 1975. This collection captures a vital musical period during the late '70s and early '80s when the introduction of synthesizers facilitated the modernization of local rhythms such as Mornas, Coladeras and the highly-danceable music style called Funaná, which had been banned by the Portuguese colonial rulers until 1975 due to its sensuality. In the spring of 1968 a cargo ship containing instruments made by many of the leading companies in the field of electronic music -- including Rhodes, Moog, Farfisa, Hammond and Korg -- set out for Rio De Janeiro, where the Exposição Mundial Do Son Eletrônico Exhibition was going to be held. The expo was the first of its kind, where companies were eager to present their newest synthesizers and other gadgets to a growing and promising South American market, spearheaded by Brazil and Colombia. However, the ship with the goods mysteriously disappeared from the radar on the same day it set sail. One can only imagine the surprise of the villagers of Cachaço, on the Sao Nicolau island of Cabo Verde, when a few months later they woke up and found a ship stranded in their fields 8 km from any coastline. Mystery permeated the event. Cosmic particles were said to have been discovered on the boat, where the bow of the ship showed traces of extreme heat similar to traces found on meteors. A team of welders arrived to open the containers. Hundreds of boxes contained keyboards and other instruments they had never seen before: and all useless in an area devoid of electricity. The goods were temporarily stored in the local church and the women of the village had insisted a solution be found before Sunday mass. It is said that charismatic anti-colonial leader Amílcar Cabral had ordered the instruments to be distributed equally in places that had access to electricity, which placed them mainly in schools. This distribution was the best thing that could have happened -- keyboards found fertile grounds in the hands of curious children, who picked up the ready-to-use instruments. The children who came into contact with the instruments found on the ship were said to have inherited prodigious capabilities in understanding music and learning the instruments. One of them was the musical genius Paulino Vieira, who by the end of the '70s would become the country´s most important music arranger. Eight out of the fifteen songs presented in this compilation were recorded with the backing of the band Voz de Cabo Verde, led by Paulino Vieira, the mastermind behind the creation and promulgation of what is known today as "The Cosmic Sound of Cabo Verde." Tracks by Abel Lima, Antonio Dos Santos, Elisio Vieira, Americo Brito, Os Apolos, João Cirilo, Tchiss Lopes, Quirino Do Canto, Pedrinho, Fany Havest, Bana, José Casimiro, Dionisio Maio and António Sanches.
"Look What This World Did To Us.” The command is rhetorical. You’re already aware of the echo, the generational discontent and alienation, the whispered and denied calls for absolution. No need to look around, just check your bank account and sigh—or echo Biggie and scream, “fuck the world.” Or melt into the couch and absorb Red Pill’s debut for Mello Music Group—a novel disguised as an album, a surly hymn from poisoned lungs. It’s a confirmation of what John Cage once declared: “all great art is a form of complaint." Or maybe the better comparison is Bukowski, memorializing the “broken factory windows of emptiness.” That makes more sense in Ferndale, Michigan where Red Pillcalls home. After college graduation, “Leonard Letdown” started working at a machine shop. A temporary gig turned into a labor daze. The dream of converting music into rent money seemed more elusive by the day. Depression compounded. The empty packs of cigarettes turned into cellophane towers. The whiskey mixed with an absence of hope. This album is a signal flare, an escape route, and catharsis. This isn’t just hip-hop, this is an attempt to distill the disillusion and cure the hangover. It’s both a brilliant mission statement and a jazzy funeral for what was promised but never delivered. This is for those who played by the rules only to discover that the game was rigged. This is a toast for those entering their late 20s and still acting like adolescents. It’s an anti-Valentine to marriage and mortgages. It offers empathy for those buried under student loan and credit card debt, but who refuse to sink. Even if the smoke rings appear like nooses, this is an artful rebuttal to the nihilism. Your favorite song will be determined by what theme you relate to most. Look What This World Did To Us is in league with the best of early Atmosphere or Open Mike Eagle’s Dark Comedy, a modern hustle of machinery and migraines. A commemoration of going a quarter century without a foundation and an acknowledgement of the nerves that accompany a future built atop fault lines. These are the late night conversations you have with your friends. The idle nights and empty bottles, the hard questions that come after you realize the world might not be yours.
Hotflush Recordings is delighted to announce the arrival of a second full length from Sepalcure, the American duo made up of Travis “Machinedrum” Stewart and Praveen “Braille” Sharma. Arriving four and a half years since their acclaimed debut, 11 track album ‘Folding Time’ is a singular and tender statement. This special coming together of distinctive musical minds produced a much-loved, self-titled debut LP in 2011, plus six EPs between 2010 and 2013, all of which suggested a penchant for broken beats and bright melodics. Both have since furthered their accomplished solo careers - Braille released his debut solo album Mute Swan, while Machinedrum’s experimental exploration of Vapor City landed on Ninja Tune - that have kept them busy in the studio as well as on the road. As such, and owing to their insistence that any production work had to be done in person "since that results in a certain sound and experience you just can’t recreate remotely”, the new record took some time to come together. With plenty of well paced peaks and troughs along the way, as well as a underlying sense of humour and a very real human warmth, this is an album that works on both head and heel in equal measure.
The incredible 2013 debut album by DJ Skizz is finally available on vinyl! For those already familiar with Skizz's incredible beats utilized by an All-Star cast of Emcee's this album is a must have! This quality limited edition press doesn't disappoint and the artwork has been given an upgrade by Mr. Krum.
The incredible 2013 debut album by DJ Skizz is finally available on vinyl! For those already familiar with Skizz's incredible beats utilized by an All-Star cast of Emcee's this album is a must have! This quality limited edition press doesn't disappoint and the artwork has been given an upgrade by Mr. Krum.
Slice Of Spice have teamed up with K-Def and Ghettoman Beats to present the "K-Def Signature Sevens" series on 7 inch vinyl. Volume One is the first in a series of 3 releases coming out in November/December 2012. All of the tracks were recorded during his 'House Of Hits' phase on his legendary MPC60 in the B Room during the early 90s. The first release see's K-Def presenting the previously unheard track "What Goes Up" from Rated R. As with all Slice of Spice pressings no expense has been spared for his vinyl labor of love. The release includes a full color jacked with a 3mm spine, featuring original artwork by the legendary Joe Buck. This set of 7's has also been pressed on heavy 70 gram virgin vinyl.
New Jersey duo K-Def & DaCapo are 'The Program' and Slice Of Spice have teamed up with them to release some incredible material recorded between 2007-09. From 'The Article EP', which was advertised in record stores back in 2008 but never released, to the unheard Instrumental Versions, to the expanded CD version including x4 Bonus Tracks! 'The Program Project' is not only bringing you some unreleased K-Def heat, it's bringing it bigger than originally intended.
A - MAELSTROM Much like the infamous weather phenomenon the song is named after, MAELSTROM swirls and surges; drenching the listener in psych feedback while pulling downward, ever downward, into a sonic abyss. The bass provides the current, a pulse that pushes through the waves of feedback before the crashing storm of horns furiously hammers the listener. There is nothing pretty here, nothing safe; this is the Budos unhinged. They’re pushing their audience into uncharted waters and plotted a course into the eye of an electric storm. B - AVALANCHE The guitar’s hypnotic fuzz-laden intro builds to a peak before dropping the weight of the full Budos sound upon the listener. Horns slash and dive, the drums thunder downhill, the organ wails like winter wind while the combination of bass and guitar rumble and soar around you. This is the Avalanche of sound; the wrath of The Budos delivered through a combination of driving power and snarling menace. All before it Is crushed beneath the AVALANCHE.
Electronic music's Renaissance man Travis Stewart, better known as Machinedrum, is prepping for his biggest and boldest release to date with label Ninja Tune- Vapor City - the first full-length offering since his critically-heralded Room(s) in 2011. Between now and then, his output has been an unrelenting stream of versatility with skillful releases on LuckyMe (SXLND), Hotflush with beloved Sepalcure, and the dancefloor blitzkrieg known as JETS- his most recent partnership with frequent collaborator Jimmy Edgar- among other releases, collaborations, and remixes that have kept him always one step ahead of the bunch with fans and music critics eagerly awaiting his next vision. The man of many faces went back to the drawing board armed with inspirations sprouting deeper from within his psyche. Based on recurring dreams he has had for years about a metropolis known as Vapor City and which have become so vivid that Stewart can describe the place in detail district by district, he has finally crafted a fully-formed soundscape which doubles as a map into this imaginary universe.
“The Seer took 30 years to make. It’s the culmination of every previous Swans album as well as any other music I’ve ever made, been involved in or imagined. But it’s unfinished, like the songs themselves. It’s one frame in a reel. The frames blur, blend and will eventually fade. The songs began on an acoustic guitar, then were fleshed out with (invaluable) help from my friends, then were further tortured and seduced in rehearsals, live and in the studio, and now they await further cannibalism and force-feeding as we prepare to perform some of them live, at which point they’ll mutate further, endlessly, or perhaps be discarded for a while. Despite what you might have heard or presumed, my quest is to spread light and joy through the world. My friends in Swans are all stellar men. Without them I’m a kitten, an infant. Our goal is the same: ecstasy!" The songs The Seer, Ave. B Blues, Avatar, and The Apostate were developed organically as a group in rehearsals and on tour. They morphed constantly throughout the last series of Swans tours, and were captured and lovingly adorned in the studio. The remaining songs on the album were developed from the ground up in the studio with the participation and input of all the contributing musicians, guided by an invisible hand... Recorded at Studio P4 and Andere Baustelle in Berlin, by Kevin McMahon and at Marcata Studio, Gardiner, NY, by Kevin McMahon. Additional recording at Trout Recording, Brooklyn, NY, engineer: Bryce Goggin. Mixed by Kevin McMahon at Marcata. Produced by Michael Gira.
A Hollywood stunt performer who moonlights as a wheelman discovers that a contract has been put on him after a heist gone wrong. The soundtrack features original music by Cliff Martinez (The Lincoln Lawyer, Traffic) with Eurosynth-styled songs by Kavinsky & Lovefoxxx (''Nightcall''), The Chromatics (''Tick of the Clock''), Desire (''Under Your Spell''), College featuring Electric Youth (''A Real Hero''), and Riziero Ortolani featuring Katyna Ranieri (''Oh My Love''). Rolling Stone Magazine named Drive the No. 1 movie of 2011. The Drive soundtrack raced to the top of the iTunes album charts, hitting No. 4 within a week of its digital release and peaking at No. 35 on the Billboard Top 200. The soundtrack re-entered the charts in February 2012 when the film was released on DVD. ''One thing that was unique for me about this project was having songs exert such a strong influence on the score,'' said Martinez. ''That helped to create a unified, one-size-fits-all, style of soundtrack... the 80s electronic pop style made a lot of sense to me. I knew that Nicolas [Refn, director] was in love with that sound and I saw a way to acknowledge it with vintage synth sounds and cover most of the dramatic food groups while referencing that style.'' This blending of score and song is the perfect vehicle for Cliff Martinez. Martinez moved to California in 1976, just in time for the punk movement. He had stints as drummer for the Weirdos, Lydia Lunch and Foetus frontman Jim Thirlwell, the Red Hot Chili Peppers and the Dickies. He was also the drummer in the final incarnation of legendary iconoclasts Captain Beefheart and the Magic Band. Martinez has since received compositional credit on many of Steven Soderbergh's projects including Kafka, The Limey, Solaris, Gray's Anatomy, Schizopolis, Traffic (which earned four Oscars and earned Martinez a Grammy nomination), and the upcoming film Contagion. He also composed the music for Espion(s) and A L'Origine, two French films released in 2009 - the latter earned a Cesar Award nomination for best original score. His other credits include Pump Up The Volume, Wicker Park, Wonderland, and The Lincoln Lawyer.
The 'friggin' hottest indie film of summer 04' Music from the ''cult'' hit of the summer ''Napoleon Dynamite'' featuring original score by John Swihart, songs from the film, exclusives such as Rogue Wave's ''Every Moment'' (acoustic) and a rare track from Figurine ''New Mate'' (f/ Jimmy Tamborello of The Postal Service) and all your favorite ''laugh out loud'' classic Napoleon dialogue! 30 total tracks! Sweet! From Preston, Idaho comes Napoleon Dynamite (Jon Heder), a new kind of hero complete with a tight red 'fro,' some sweet moon boots, and skills that can't be topped. Napoleon lives with his Grandma (Sandy Martin) and his 30-year-old, unemployed brother Kip (Aaron Ruell), who spends his days looking for love in internet chat rooms. When Grandma hits the road on her quad runner, Napoleon and Kips' meddling Uncle Rico (Jon Gries) comes to town to stay with them and ruin their lives. Napoleon is left to his own devices to impress the chicks at school and help his new best friend Pedro (Efren Ramirez) win the election for Student Body President against the stuck-up Summer (Haylie Duff); all the while making sure to feed Grandma's pet llama Tina, and avoiding association with Uncle Rico and the herbal breast enhancers he sells door to door. Napoleon and Pedro put their skills to good use, but it is a surprise talent that leads the two to triumph in the end.
This album falls on the year anniversary of the Dr. Dundiff & Friends 2015 Forecastle performance. Immediately after the performance last year, Dr. Dundiff and all of his friends spent 5 full days of recording the whole Forecastle performance. Dr. Dundiff & Friends have captured the exact same show with the same live element, brought by the same musicians. This album has an 11-piece band, 14 rappers and a special cypher featuring everyone on the record plus a guest appearance from Jim James. We have pressed a limited run of 500 vinyl records. Each record comes with a digital download card. Purchasing the album online or the physical record will give you the bonus track "Mission" feat. Kogan Dumb, Touch A.C. and Nightmare the Rusty Robot. Thanks to everyone for the support! Credits:All songs written by Dr. Dundiff except: Hoodrat Things (Chuck Deuce), Tower (Doc Gonzo) and State Of The Art (Jim James from My Morning Jacket). Recorded, Mixed and Mastered by Kevin Ratterman at La La Land.
El Michels Affair are back with a 45 of original material that features a new NYC band called The Shacks. The Shacks are made up of the enigmatic Shannon Wise, and studio wunderkind, Max Shrager. Their dreamy, voyeuristic sound was born in Michels' Queens, NY studio in 2015. And while they describe themselves as a rock band, don't expect the conventional kind. Side A 'Strange Boy', sounds like the Five keys met Neil Young and cut a record with Jane Birkin - but in English. A fuzzed out, heavy backing track with doo-wop background vocals create a peculiar, but perfect bed for Shannon's dead pan celebration of her 'Strange Boy', of whom she would gladly 'drink the kool aid from his cup'. Side B, 'No Surprise', is a perfect blend of El Michels Affair's hazy, cinematic soul and 60's pop ala Sonny and Cher.
Vulnicura Live was mixed by Björk with help from Arca and the Haxan Cloak, both of whom also worked on the studio version. The 14-song set will include performances of seven Vulnicura tracks, and seven tracks culled from the rest of Björk’s catalog. All the tracks were recorded from various performances throughout the Vulnicura album cycle.
Long awaited 2016 album from Clams Casino, the iconoclast hip-hop producer. His debut album includes 12 original tracks with vocal appearances from an impressive cast of collaborators, including Vince Staples, Kelela, Sam Herring (Future Islands), Joe Newman (alt-j) and more. The album also includes his first ever collaboration between A$AP Rocky and Lil B, on the track "Be Somebody." Creative direction and design on 32 Levels is by Trevor Jackson, the renowned art director, designer, moving-image maker, producer and Output Recordings label founder. In 2011, Clams Casino compiled a set of his favorite beats into the now essential mixtape Instrumentals Vol 1, that he achieved widespread recognition. Rolling Stone called him a "visionary," Spin described his music as "fascinating and ominously exhilarating" and he was lauded on BBC Radio 1 by legendary producer Brian Eno.
Contains all 4 of Karl Hector’s limited edition EP’s: Tamanrasset, Ngugna Yeti Fofa, Coomassi and Ka Rica-Tar. Following their deft handling of musics from Eastern and Northern Africa alongside Western psychedelia, jazz and funk on Unstraight Ahead, Karl Hector & The Malcouns combine the previously available only on vinyl tracks from four EP’s – Tamanrasset, Ngugna Yeti Fofa, Coomassi and Ka Rica-Tar — into an album as Krautrock as Afro Beat, as Multi-Culti-Psychedelic as Deep Funk.
The winter of 1996 gave us one of the most prolific albums from one of the most talented emcees to ever touch a microphone...Oh, and it just so happens to be a woman. When Philadelphia's own Bahamadia partnered with Gang Starr's Keith "Guru" Elam, and DJ Premier to produce her debut album Kollage, the energy was incredible, creating a body of work capable of standing the test of time. 20 years later it's done just that, and the Queen's masterwork Kollage is being reissued back where it belongs, on vinyl.
If you have questions regarding your order please visit our Order Status page before contacting us.
If it's urgent don't hesitate to give us a ring.
Business hours are Monday - Friday 9AM-5PM PST.
Call Us Toll Free: (888) 377-3175
To reach us by email use the form below:
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.
Important information when ordering with Fatbeats.com...
• Online orders are processed within 1-2 business days.
• If you are confused or need to know about an order placed on the site you can contact us
• Order processing time is separate from shipping time requested.
• International orders and orders that require additional credit verification can take longer to process. Please be available at the provided number or email submitted to speed up verification time.
•We try and offer as many upcoming projects available for pre-order when the releases have moved into production. However, due to the nature of manufacturing and production, pre-order dates may change. If your pre-ordered items are holding your package from arriving please email us with a request to ship the in-stock items and pre-orders when they become available.
•If your order contains pre-order items we will hold the package until all titles are available to ship. Please specify in the comments section of the checkout if you would like to: a) hold your entire order until it can be entirely fulfilled or, b) have the in-stock items shipped immediately and the pre-ordered items ship when available. Please note that option B may require additional shipping charges as multiple packages will be shipped.
• Our stock rapidly changes and we try and set in place a system that avoids purchasing items that become out of stock. However, if a product ordered is out of stock, we will reach out and give you the chance to change or cancel your order. If you choose to cancel, you will be refunded in full.
• IMPORTANT: If the address or phone number supplied conflicts with other information provided, i.e. billing information versus shipping information, we may need to contact you to verify your purchase. Please be available to verify or write an explanation in the notes section during checkout explaining the conflicting information.
•Please make sure you give us your correct billing address and your correct billing phone number. Again, it is highly important that you are available at the provided number or email submitted to speed up verification time enabling us to avoid fraudulent purchases.
• All sales are final. However, if the item ordered is different from the item you receive, please contact us and we can arrange to get you the desired product.
• We are committed to protecting your privacy. There is an opt-in policy to receive marketing and other e-blasts about future products available as well as deals and coupons. If you do not wish to receive these emails you can opt out by simply removing the check from the marketing box below upon check out. We will never sell your email or personal information.
• Your payment and personal information is always safe. Our SSL (secure server software) is the industry standard and among the best software available today for secure commerce transactions. It encrypts all of your personal information, including credit card number, name, and address, so that it cannot be read over the internet.
Fat Beats offers internship opportunities. You must be enrolled in college and reside in the Los Angeles area to be eligible for our programs. If you meet these requirements, please paste your cover letter below and we will contact you if there are open positions available.
We are currently offering an internship program that offers an educational experience in all facets of our distribution operation. The intern would have the ability to assist in each of the following departments:
Online Retail / Marketing
Shipping & Receiving
- Enrollment in an accredited college/university that offers an internship program for academic credit
- Knowledge and passion in independent music and culture; with a specific interest in the artists/releases that Fat Beats supports
- Familiarity with Microsoft Office applications
- Positive attitude - no task should be considered too small
- Must be located in the greater Los Angeles area
Resumes/Cover Letters should be emailed to email@example.com