Founding member ‘Lit Internet’ says of the music WWWINGS makes: “Our main inspiration is not good for our health, we live in post-Soviet countries and for people like us with our interests and hobbies and points of view, it’s a very uncomfortable zone. It’s not about the place, actually we like the nature here, it’s about the people who rule these countries and their laws. Struggle with real life in almost totalitarian countries affects us, so I think that's why most of our tracks sounds disturbing and depressive”. WWWINGS consists of three members aged between 18 and 25, ‘Lit Internet’ from the Kamchatka Peninsula in the far East of Russia, ‘Lit Eyne’ from Siberia and ‘Lit Daw’ from Ukraine. The three of them met on the Russian social networking site VK where Lit Internet and Lit Eyne formed a music blog, prior to their making music together. Pre-WWWINGS Lit Eyne taught and collaborated with Lit Internet, creating a soundcloud page and posting a track per month, gathering interest and forming many international friendships with like-minded artists, some of whom ended up collaborating on this album. After this, Lit Internet met Lit Daw who was already a skilled producer and in 2015 the three of them collaborated on the ‘WWWINGS’ project, remotely, using the Russian instant messenger service Telegram. The tracks on ‘PHOENIXXX’ approach electronic music with a punky, chaotic attitude. WWWINGS’ music straddles and sutures unlikely sounds and structures, often in the same tracks. Musique concrète morphs into trap and trashcan drums, the twisting dramatic soundscapes of gaming soundtracks, Eastern European folk music, new metal, industrial noise and explosions everywhere. This culture clash is hammered into something impulsive, dystopian and dripping in cold, alien slime. With a featured artists list that features the cream of the new wave of 2016 such as NON’s Chino Amobi, NAAFI artists Imaabs and Lao, Hyperdub signing ‘Endgame’, self described ‘transhuman experiment’ Born In Flamez, Symbols Records’ Kastle, Ebbo Kraan and DJ Heroin, PHOENIXXX is an uncompromising and highly original record.
Even more rare drums from around the globe!
Devonté Hynes has produced a lot of music. Some for himself: Testicicles, Lightspeed Champion and some for others: Basement Jaxx, Florence & The Machine, Theophilus London, Solange Knowles, Cassie, and Diana Vickers. Somewhere in between all of this, Blood Orange was created. Hynes has been living in New York City for the past three years where he has been concentrating on writing and producing for other artists. He simultaneously worked on songs in his bedroom, compiling them onto mixtapes that he would listen to while traveling around the city at night, letting the city’s nocturnal ecosystem seep into the music in his headphones. Informed by the equally neon atmosphere of Chris Isaak, Billy Idol, 80’s Japanese pop such as Yellow Magic Orchestra and French singer F.R David, Hynes took the songs that form ‘Coastal Grooves’ on a trip to the West Coast where he started turning the ideas into an album with producer Ariel Rechtshaid in L.A. Alongside the music he heard playing in after-hours bars, Hynes drew inspiration from the identity blurring work of transgender icons such as Octavia St. Laurent and the playful high-gloss nihilsm of Gregg Araki movies. Blood Orange is the music of a seedy yet inspirational New York night time. The first official release (the more eagle eyed of you might have picked up the infamous ‘exotica sage mixtape’ down an illicit highway or byway) from Blood Orange was the ‘Dinner’ 7” release on Terrible Records, the label run by Chris Taylor of Grizzly Bear.
Returnal is the fourth album from Daniel Lopatin's Oneohtrix Point Never project, after Betrayed In The Octagon (Deception Island, 2007), Zones Without People (Arbor, 2009) and Russian Mind (No Fun, 2009). All 3 albums being superbly compiled on the Rifts double CD set (No Fun, 2009). It sees Lopatin fine-tune his craft for the creation of deep atmospheres and textures even further. Starting off with the mind-blowing triptych of "Nil Admiari"/"Describing Bodies"/"Stress Waves," which fires off into a noise/rhythm excess before entering a zone of relative calm, building to the melancholy of the final part. This sets the tone perfectly for the album's title track, a stunning, out-of-this-world ballad featuring Lopatin's near-desperate vocal delivery, ending what could be seen as one of his most chilling and thought-provoking sides to-date. The atmosphere is slightly lifted as the darkened sun comes up over the ruins on "Pelham Island Road" and "Where Does Time Go," with the album closing with edgy broken beats and the fourth-world possible landscapes of "Preyouandi," which fades into the distance with echoes of the "Returnal" chorus closing the loop. What's burnt into memory here is Lopatin's love affair with the long, slow path back home... the cycle... the hypnotic sector... the ghost in the machine... and whether people are making dance music or hip-hop or space head-music or metal, the ouroboros is present in every sector -- as it was in Bach's study, and in the elephant songs of the Ituri forests. Instrumentation: Akai AX-60, Roland Juno-60, Roland MSQ-700, Korg Electribe ES-1, Voice. Recorded using a personal computer. Mastered by James Plotkin. Tape-op & additional engineering by Al Carlson. Awesome spot-varnished cover design by Stephen O'Malley.
Reissue of Niagara's self-titled debut, originally released in 1970. Niagara was more a project than an actual band, formed by German jazz drum legend Klaus Weiss. He formerly worked with another jazz legend from his mother country, Klaus Doldinger, and gained fame in the German jazz circuit of the '60s and '70s. His 1971 works with Niagara was the offspring of the vision to create an orchestra made entirely of drummers and percussionists. Despite the fact that there is definitely no regular melody instrument to be heard on this album, the two lengthy compositions are arranged in such an enthralling way, they still have a rather catchy and memorable feel. Among the cult drummers featured on this album are Udo Lindenberg (yes, the icon of German rock and pop started as a drummer) and session hero Keith Forsey. So what both compositions offer is an ever pulsating rhythm inferno, a maelstrom of different grooves and sounds. This album is not full of pop tunes. Niagara enchants and hypnotizes with a massive wall of percussion sounds, dragging the listener deeper and deeper into a state of trance, which is utterly addictive. Niagara goes deeper than most psychedelic rock with dreamy melodies and heavy organ work. Incomparable to anything else, this is an ultimate rhythm experience.
The subject of Music From Memory's fifth compilation is the elusive and mysterious Philadelphian musician Napoleon Cherry (aka Cool Waters). Oddball funk biz! In the late '80s and early '90s Cherry privately released two LPs and an EP, which form the basis of this retrospective, alongside a previously unreleased cut, "When You Had the Chance," which was released as a 12" in 2015 by US label Peoples Potential Unlimited. Recorded with a very DIY aesthetic and a strong presence of gospel and RnB, Cherry's unique take on soul and funk music reflects a rawness that stands in contrast to the slick, over-produced soul of that era. With appearances by jazz musicians including the late celebrated saxophonist Byard Lancaster, who coincidentally also played with MFM's previous compilation subject Vito Ricci, Cherry's music seems to defy any clear categorization. From cocktail jazz funk to intergalactic synth workouts to melancholy bedroom soul, his use of synths and drum computers, though perhaps unknowingly, also seems to strongly echo elements of early house music.
Following the release of his critically acclaimed LP Under the Sun, Mark Pritchard shares a new 12" featuring "Beautiful People" and an impressive instrumental take on the track. "Beautiful People" was a highlight of the LP, featuring the vocals of Radiohead's Thom Yorke. The 12" comes along with artwork from Jonathan Zawada who provided Pritchard with the artwork for Under the Sun, and collaborated with him on a stunning installation for Red Bull Music Academy.
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Vinyl obsessive, renowned DJ and leading light of the global edit scene, Kon knows a thing or two about good music. His latest project, Kon & The Gang, introduces a selection of tracks, remixes and edits that the Boston native has lent his golden touch to over the years. Featuring artists à la mode Truccy (Compost’s Rainer Trueby & Corrado Bucci), Eli Escobar, Seven Davis Jr, Medlar and Thatmanmonkz, the album gives newcomers to the scene a fantastic taste of the DIY disco / throwback house revival which is currently taking the underground by storm. A mixture of effortlessly cool, slow slung disco & boogie and deftly edited dancefloor gems, ‘Kon & The Gang’ is sure to delight fans of soulful music old and new.
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.
2LP version boils the Scientists catalog down to 22 essentials, plus unpublished photographs, discography, and fold out Perth Punk family tree. The Scientists went through many incarnations in their 9 year history but are remembered mostly for the lineup that existed from 1981 to 1985. Kim Salmon, Tony Thewlis, Boris Sujdovic and Brett Rixon together had the peculiar chemistry that produced the classics, Swampland, Happy Hour, the Blood Red River mini LP and We had Love. With a sound that was swampy, primal and modern-urban all at once - as much in the tradition of rock and roll and punk rock as it was a rejection of those things, the Scientists' formula was as universal as it was specific to their own experience. They were about what it was like to be young and living in modern times in an Australian urban/suburban environment. The themes of getting wasted on alcohol and drugs, driving round in hotted up cars, being trapped in crap jobs and paranoia were their subject matter. Machine throb bass and drums with jagged car wreck guitars were their modus operandi. Fitting into no place or time they spurned all but the most rudimentary and elemental of rock structures along with other peoples modes of embellishment. They rejected the contemporary sound and look and so consequently were never able to carry around baggage that would allow them to date. "The Scientists turned my head around and made a man out of me! They grew hair on my palms and made my socks stink!"—Jon Spencer "They wrote fantastic singles and looked like they just crawled out of the ooze. What more could you ask for?"—Warren Ellis "The Scientists proved to me that rock n roll could be played by gentlemen in fine silk shirts half unbuttoned and still be dirty, cool and real."—Thurston Moore
Sabotage is the sixth studio album by English rock band Black Sabbath, originally released in July 1975. It was recorded in the midst of litigation with their former manager Patrick Meehan and the stress that resulted from the band's ongoing legal woes infiltrated the recording process, inspiring the album's title. It was co-produced by guitarist Tony Iommi and Mike Butcher. This album will be released on 180 gram limited translucent purple vinyl.
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.
17 years since the inception of the group, the duo’s tenth project reflects back on the path less traveled and distills their unique blend of funk into this - the second of a series of 6 song EP’s that outline their long journey to arrive at The Gettin’ Off Stage. Join the duo as they resurrect for an encore after a very real run in with mortality. Super high quality, deluxe packaging via a collaboration / joint venture between Redefinition Records & Thes One’s Piecelock70!
Skizz’s beats on his debut album are that old boom bap y’all love so we couldn’t let the opportunity pass to press up a run of instrumentals for the die-hard vinyl heads and collectors.
The debut album from Audessey & ACatCalledFRITZ is finally here on vinyl and boy does it pack a lot of Beats Per Minute. It was so good we decided to press the Instrumental version on special red color vinyl!
It’s been three years since the release of Nosaj Thing’s highly acclaimed debut album, Drift, which topped countless best of year lists, but 2013 will mark a new chapter for the 27-year-old producer, musician and DJ from Los Angeles. With a new album, label and imprint for Innovative Leisure, Home marks the first time Nosaj has incorporated guest vocalists. Having remixed and worked with the likes of The XX, Flying Lotus, Charlotte Gainsbourg, Beck & Kendrick Lamar, it was time to incorporate of his own with Toro Y Moi and Kazu Makino (Blonde Redhead) providing ethereal vocals for two of the tracks on home. The rest of the album is rounded with Nosaj’s signature cinematic soundscapes that explore the space from where Drift left off.
Combine rapper Curren$y's stoned, slow flow with his general preference for light, loopy beats and you've got an “acquired taste” indeed, plus there's the full-on embracing of weed and head shop culture topped by a prolific nature that's been averaging right around two mixtapes and two commercial releases per year. Still, when it comes to quality control, Curren$y's been closer to his inspiration Lil Wayne than his other inspiration, Master P, and this well-designed multi-producer, multi-guest-shot album deserves a special place in the man's discography, being the first “official official” after some one-producer efforts and conceptual (Weekend at Burnie's was all '80s from its cover art to its beats) street releases.
Having been around for 24 years now, which could make you feel depressingly old, depending on when you first heard the three kids from New York fight for their right or sabotage samples like no one else. Ostensibly to celebrate the Beastie's longevity, Capitol Records has released Solid Gold Hits, a collection of the trio's best. The 2 LPs span the entire Beasties history, from 'No Sleep 'Til Brooklyn' to 'Sabotage' and recent hits like 'An Open Letter to NYC.'
1987's Bigger And Deffer is the second studio effort from rap legend LL Cool J on Rick Rubin and Russell Simmons' Def Jam Recordings and follow-up to his groundbreaking 1985 debut Radio. Recorded at the iconic Chung King Recording Studios and produced by DJ Pooh and L.A. Posse, Bigger And Deffer blew the notion of a sophomore jinx right out of the water with the two smash singles "I'm Bad" and first hip hop love song "I Need Love." If Radio introduced LL as hip hop's newest star, the success and diversity of B.A.D. made him its biggest. In celebration of Def Jam's 30th Anniversary UMe will be reissuing this classic album on 180 gram vinyl with a special, chromed-out, embossed limited edition cover.
Formed in 1987, in Philadelphia, PA, the legendary Roots Crew, consists of Black Thought (MC), Ahmir “?uestlove” Thompson (drums), Kamal Gray (electronic keyboards), F. Knuckles (percussion), Captain Kirk Douglas (electronic guitar), Damon Bryson (sousaphone) and James Poyser (electronic keyboard). The collective has become one of most respected hip-hop acts in the business and one of the greatest live groups around, currently residing as the official house band of The Tonight Show starring Jimmy Fallon. 2006's Grammy nonimated Game Theory is The Roots' dark and socially conscious seventh full-length LP and first for Def Jam which introduced shades of synth and electronica to their already progressive sound. The album references political rap heroes Public Enemy's "Don't Believe The Hype" on the lead track and samples such artists as Sly and the Family Stone ("Life of Fortune and Fame"), Kool & The Gang ("Jungle Boogie"), The Ohio Players ("Ecstasy"), The Jackson 5 ("All I Do Is Think Of You") and Radiohead ("You and Whose Army?") throughout. Home to the singles "Don't Feel Right" and "In the Music."
The Geto Boys name is synonymous with hardcore rap; beginning with their self-titled 1990 debut, the trio has taken the genre to new extremes, establishing their Houston hometown as a hip hop flashpoint. The Resurrection reunites the original group (Scarface, Bush wick Bill and Willie-D, who found recent success as solo artists) for their first album in 3 years.
D.I.T.C. classic! Produced by The Beatnuts, Diamond D & Showbiz!
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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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