In observance of their impending breakup in 2018 and rumors of their first album in seven years around the corner, Long Island, NY pop-punk act Brand New is feeling reflective. It's resulting in a string of surprise releases in 2016 including the first official pressing of their hard hitting 2015 single "Mene," the band's first new song in six years, plus the b-side "Out of Range." Limited edition clear colored 7" vinyl featuring artwork created by Morning Breath.
Dominick Fernow laces up his Vatican Shadow boots for the project’s first set of drills since 2014 and one of its finest ever transmissions, trampling in the wake of his fierce new Prurient record Unknown Rains, for Hospital Productions. Reflecting on a world much unchanged, even intensified since his last dispatch, Media In The Service of Terror works classic VS signatures measured with increased momentum and propulsive energy, divided into seven parts and imbued with that dramatic melodic arrangements that works beyond the club. Stepping farther away from the ‘floor, he’s in scowling, contemplative form with Ziad Jarrah Studied Mathematics and at his best when working between spheres, as with the industrial reggaeton roil of Take Vows in both its versions, and particularly the pensile atmosphere of Interrogation Mosaic.
Depeche Mode Violator on 180g LP! Initially rooted in the U.K.’s New Romantic movement, modern rock icons Depeche Mode first formed in 1980 with founding partners Dave Gahan, Martin Gore, Vince Clarke, and Andrew Fletcher. Their pioneering, synthesizer-based sound became a global phenomenon that made them wildly successful electro-pop superstars who loomed as large as cult heroes as they did as commercial heavies. With an originality of vision that’s only grown over time, the band’s wealth of singles and signature tracks ranges from bold dance grooves to atmospheric alt-pop to dramatic, industrial flavored masterpieces. Depeche Mode truly hit their artistic and commercial peak with the release of their sexually charged 1990 alt-classic Violator which confirmed the quartet’s status as international superstars once and for all. Co-produced by Alan Wilder and Flood, the concise and expertly crafted 9-song effort is home to such landmark singles as “Personal Jesus,” “Enjoy the Silence,” “Policy of Truth” and “World In My Eyes.” Gatefold 180 gram vinyl with inserts and liner notes. "For many Depeche Mode fans, Violator is the crowning glory of the boys' black-leather period. In "Sweetest Perfection," "Halo" and "World in My Eyes," they turn teen angst and sexual obsession into grand synth-pop melodrama, and their attempt at guitar rock resulted in a hit with "Personal Jesus." - #342 on Rolling Stone's 500 Greatest Albums of All Time.
Depeche Mode Music For The Masses on 180g LP Initially rooted in the U.K.’s New Romantic movement, modern rock icons Depeche Mode first formed in 1980 with founding partners Dave Gahan, Martin Gore, Vince Clarke, and Andrew Fletcher. Their pioneering, synthesizer-based sound became a global phenomenon that made them wildly successful electro-pop superstars who loomed as large as cult heroes as they did as commercial heavies. With an originality of vision that’s only grown over time, the band’s wealth of singles and signature tracks ranges from bold dance grooves to atmospheric alt-pop to dramatic, industrial flavored masterpieces. 1987's Music For The Masses lived up to its title and then some, underscoring the power and songcraft of Depeche Mode as its popularity exploded and leading to a massive world tour. Produced by David Bascombe fresh off his engineering work on Peter Gabriel's immensely successful album So, the 10-song set was the band's first to break into the Top 40 on the Billboard 200 chart and it was home to more hit singles on the Billboard Hot 100 than any of their prior releases with "Strangelove," "Behind The Wheel," and "Never Let Me Down Again."
With many new roads traveled over the last few years, The Gaslamp Killer is back with the full-length LP Instrumentalepathy. Releasing on vinyl, CD and digital formats, GLK will initiate his new imprint Cuss Records with Instrumentalepathy. French surrealism artist Albane Simon designed the cover, supplying an array of psychedelic imagery that contains a brilliant sense of connection to GLK’s music & the chaos he’s survived. Instrumentalepathy features an impressive cast of artists tied closely to GLK over his music career with Brainfeeder, Low End Theory and beyond. Guests include Gonjasufi, Miguel Atwood Ferguson, Niki Randa, Kid Moxie, Mophono, Amir Yaghmai and The Heliocentrics. It’s been over a decade since GLK and Gonjasufi have collaborated on new music, bringing the two natives of San Diego back together for something truly special. As many know, GLK used the triumphs of battling a near death experience three years ago when shaping his debut Cuss Records album. A handful of the tracks were even captured from his bed, unable to walk, with morphine running through his veins and staples in his body. A musical illumination that one could argue helped save his life and steered him towards the achievements he has accumulated with his live band The Gaslamp Killer Experience. Instrumentalepathy marks the catalyst point of an important road for GLK and the electronic community at large. Instrumentelephy, like his latest releases, continues down the rabbit hole of his debut full length Breakthrough (Brainfeeder) and the recent live record with his band The Gaslamp Killer Experience. Molding psychedelic ethos and heavy drum breaks with the traditional music language of his ancestors and the futuristic landscapes of modern electronica, GLK continues to push the boundaries of contemporary music. Vinyl & cassette coming soon!
Pink Floyd's atmospheric 1975 album featuring the majestic nine part Shine On You Crazy Diamond suite. Heavyweight LP packaged in a replica of the original cover (including postcards). Mastered by James Guthrie, Joel Plante and Bernie Grundman and pressed on 180g vinyl for optimum sound quality.
Wax Tailor aims to make you travel with his fifth studio album By Any Beats Necessary. “The album’s title reflects my determination to use all kinds of sounds and textures to get to something musical,” says JC Le Saout. “The word ‘Beat’ also draws a line towards the Beat Gen- eration, Kerouac’s famous novel On The Road, and the quest for a better place. And so, in this time when each of us needs a little escape, I conceptualized this album as the soundtrack to a better elsewhere”. This new take on the western frontier leads us on a fabled road where blues, psychedelic rock, soul, funk and hip-hop collide. Joining him on this ride are guests such as Ghostface Killah from the Wu Tang Clan, R.A. The Rugged Man, who crosses mics with up and comers A-F-R-O & Token, in a showdown for the ages. The album also features Tricky in a very personal duet with Charlotte Savary, Lee Fields, the godfather of the retro soul scene, Sara Genn, Mattic and Raashan Ahmad and newcomer Idil.
Anyone reckless enough to have typecast Angel Olsen according to 2013’s Burn Your Fire For No Witness is in for a rethink with her third album, MY WOMAN. The crunchier, blown-out production of the former is gone, but that fire is burning wilder. Her disarming, timeless voice is even more front-and-center. Yet, the strange, raw power and slowly unspooling incantations of her previous efforts remain. Over two previous albums, she gave us reverb-shrouded poetic swoons, shadowy folk, grunge- pop band workouts and haunting, finger-picked epics. MY WOMAN is an exhilarating complement to her past work, and one for which Olsen recalibrated her writing/recording approach and methods to enter a new music-making phase. As the record evolves, one gets the sense that the “my woman” of the title is Olsen herself, absolutely in command but also willing to bend with the influence of collaborators and circumstances. An intuitively smart,warmly communicative and fearlessly generous record, MY WOMAN speaks to everyone. That it might confound expectation is just another of its strengths.
Brain-melting reissue of the rare Columbia Records '73 single, featuring the original Mainman mixes and tucked into a deadly picture sleeve sporting a fantastic Mick Rock shot from the Raw Power sessions. Essential!
2007 Kill Rock Stars release 7 inch vinyl EP with MP3 download card.
YES LAWD! As temping as it may be to just let that exclamation suffice as your sole introduction to NxWorries, we should go a little deeper. The men at the heart of this LP — soul styler Anderson .Paak and loop beast Knxwledge — make an exceedingly clean pair, even as they deal almost entirely in the gritty: vocals that sound lived in for a couple of lifetimes; beats that kick up dust as they bump; and an 18-track set that plays like a mixtape merging skits, songs, and snippets into a package of fluid groove and rough-cut rap ‘n’ soul gems. You may have heard these two out in the world, on their own or sprinkling some of their musical gold dust on someone else’s songs, but this is what happens when .Paak and Knx get home, lay back, light up, and let it go. If there’s a Blaxploitation vibe to Yes Lawd!, that’s just the depth of NxWorries’ funk and strut showing. If there’s gospel in the grits, that’s the history of the cooks. Each grew up with religion. It was Knxwledge’s job to tidy up the family church in Jersey as a kid, and when he was done, he got to play on the instruments. Better still, when those instruments went bad, he kept them. Similarly, he’d soon find sounds in his growing vinyl cache, and when he moved to Los Angeles in 2008 as a beat maker, his compositions ensured he’d be home at Stones Throw. His hypnotically dank 2015 LP Hud Dreems was the tip of an iceberg—75 Bandcamp collections, and counting. Paak was neck deep in those songs when Knxwledge reached out. The singer grew up in Oxnard drumming in his own family’s church. His folks got locked up when he was a teen, and while he’d eke by on odd jobs (grocer, trimmer, personal assistant), he was homeless for a spell with a newborn son. But .Paak pushed forward, building a career via imaginative albums (2016’s Malibu), and collaborations that always seem to make him the star, even when he’s just there to sing the hook. On Yes Lawd!, .Paak – who calls the album “my best work” – plays theatrically brash version of himself who sings like a ‘70s superstar and talks shit like a stone cold player. But the perfor-mance is seeded with details from his life, which has seen a fair share of struggle and hardwon triumph. Meanwhile, Knx weaves a tapestry of sampled bits and live fragments—bass, brass and violin—that smooths everything over, reminding us that despite whatever struggle it took to get here... well, you already know the name: NxWorries.
Big Crown Records is proud to present the second single from Lady Wray’s Queen Alone album “Smiling”. An instant feel good anthem, Smiling finds Lady Wray reminding us to keep our heads up and keep a smile on our faces through whatever life deals us. With production from Leon Michels & Thomas Brenneck that rides the line between bubblegum pop and lo fi tough grit, Nicole lays out with a voice as encouraging as the lyrics she is singing. Listeners will be hard pressed not to find themselves singing along after the first listen. A proper good vibe tune guaranteed to move dance floors the world over. The B side “Make Me Over” is a lushly scored tale of letting your guard down and letting the one who loves you take care of you when you are down and out. A relatable tale of having expensive taste and empty pockets, Nicole finds herself asking for a little help so she can get a break from being strapped for cash promising to take care of her man as soon as her check comes in.
Big Crown is proud to present the debut single from 79.5 “Terrorize My Heart”. Hard to categorize, easy to love, 79.5 has been making tons of noise around New York City for the past year. With three lead vocalists, Kate, Nya, and Piya and a band that pulls influence from every corner of a record store, it’s no wonder they are already taking the scene by storm. They are an act that gets put on as an opener and shortly there after is asked by the venue to do a month long residency. That residency leads them to a full page write up in The New Yorker before they even have a single out. The long and short of it is that 79.5 wins over the listeners wherever they play with an infectious energy. Between the arrangements of bandleader Kate Mattison and the prowess of all the players, their sets run a gamut of energies and tempos, whether breaking it down to a capella, turning it up to disco, or mastering the middle, they run the groove, and the crowd follows suit. Take all of that and put it in the studio with Big Crown’s own Leon Michels on production duties and you get a record we can’t wait to put out in the world, a record on which every song was recorded live to tape in one take. “Terrorize My Heart”, a tune leaving no room for gray, finds the ladies of 79.5 walking the line between vulnerability and forthrightness. Setting out with admonishments of love and infatuation that are checked by the bluntness of women who’ve lived in the Big Apple for years, “is it her or is it me, that’s how it’s gotta be”. A smashing rhythm section covered in punching rhodes chops, flute parts, and dubbed out reggae rhythm guitar sets the perfect vibe for the ladies to trade off leads and come back together in three part harmonies: All the while taking the whole tune from half time to double time. The B side, coined the Disco Dub mixed by Jens Jungkurth, finds Michels’ production taking “Terrorize My Heart” from the change where it goes to four on the floor and lacing it with drums and a clap track that absolutely pushes this tune over the edge into the realm of dancefloor banger. Tombstones fall over, the earth cracks open, and dead people get up and dance when this comes on...
This, too, is a story about control. It’s a manual, maybe half Rosetta Stone, half bird guide. It was made the way they made electronic music in the good old days, all analog everything, right after synthesizers shrunk to a manageable size and you didn’t have to trek down to a university to use one anymore. Hard-earned. Tastes different. Our parents’ electronic. And its subject is staying together, that thing we thought was their province. It’s about trying to fix what hurts. It’s about knowing better. Black Noise is men talking to men about women; Lemonade is a woman talking to women about men, and they both orbit around a failure we take for granted like the sun: loving you is complicated. It’s a skill; we forgot. Adrian Younge calls The Electronique Void an academic album, by which he means it is both instructional and informational. There’s a problem at the heart of it, a woman who’s been told that she’s loved, but she doesn’t recognize that, can’t feel it, may have heard it all before, may be worrying about the wrong things. Jack Waterson, long a guitarist in Younge’s band, plays the role of narrator, sounding professorial and rather superior as he lays out for the woman where she’s erred. That vocoder you hear is Adrian, talking to her on a subterranean level, the way an artist must. There’s a strong sense of rules here, a prescription and a presumption that there is an agreed upon way to do it, and there is also a wrong way, or at least a way that won’t work. And the fact is, as didactic as that sounds, it might be the truth. Maybe everybody who’s alone can be cured. The discourse on the album is the kind of thing that happens when you go blonde and then you can’t keep ‘em off you. These truths are cold and hard, and our hero begrudges the well-meaning advice being rained down upon her as any independent woman would. The science of love, its formulas and if-then constraints, causal relationships and observable properties, is best taught experientially, but learning it hurts so, so bad. Music, especially electronic music, reliant as it is on abstraction and unrepentant as it is about hijacking your physiological responses to tempo and rhythm and dynamics, is a way to get there without going through it. Electronic music as practiced and developed by pioneers like Dick Hyman and Raymond Scott and Wendy Carlos is precise and intentional. In making his first electronic album, Younge took his cues from them, reminding a contemporary audience what a synthesizer, deep in its heart, really could be. The lady of The Electronique Void, only ever seen through a man’s eyes, who’s being told what to do by him, sounds trapped by her history and by her position, her ancestors’ trauma echoing through her lineage and booming out of her as a phobia, distrust, misapprehension, rational response to a fucked up situation. Waterson’s text here seems to say that if his character could go back in time, catch her before the damage was done, she would be able to love. And that’s reasonable. Don’t get hooked. Don’t do wifey shit for a fuck boy. Don’t let it go to your head, no. It’s also possible he has no idea what he’s talking about. The lessons for men in The Electronique Void are unspoken but plain as day. This music is an urgent tutorial. Adrian Younge looks at us and sees the frontline of a crisis, something we only have time to triage right now. This isn’t romantic and it isn’t about settling down. This is the fight of our lives: how to love.
San Diego's own The Sure Fire Soul Ensemble is back with their sophomore LP on Colemine Records! Cinematic soul is the order of the day from this west coast group. Covering a lot of soulful territory here: deep funk, soul jazz, breakbeats, and more!
The third volume in the ROAD KILL compilation series from Hit & Run. A curated selection of exclusive beats featuring some of the most notable names in electronic, hip hop and experimental music (Madlib, Kutmah, Teebs & more!). Pressed on a slab of red vinyl with black haze - limited to just 300 copies!
The collaboration between Piecelock70 & Redef continues! This time we’re presented with the long-awaited instrumental versions of People Under The Stairs “The Gettin’ Off Stage, Step 2” EP on deluxe color vinyl (Silver with heavy black splatter in extra thick jackets), with stunning artwork provided by highly respected visual artist Joseph Buckingham (aka “Joe Buck,” best known for his iconic work for De La Soul on the “De La Soul is Dead” cover). The TGOS Instrumental artwork is presented as a trio of unique covers that connect to form one 36 inch wide illustration. Instrumental versions of both Steps 1 & 2 are now available individually and word on the street is that Step 3 vocal & instrumental versions may follow soon after
The collaboration between Piecelock70 & Redef continues! This time we’re presented with the long-awaited instrumental versions of People Under The Stairs “The Gettin’ Off Stage, Step 1” EP on deluxe color vinyl (black & silver blend in extra thick jackets), with stunning artwork provided by highly respected visual artist Joseph Buckingham (aka “Joe Buck,” best known for his iconic work for De La Soul on the “De La Soul is Dead” cover). The TGOS Instrumental artwork is presented as a trio of unique covers that connect to form one 36 inch wide illustration. Instrumental versions of both Steps 1 & 2 are now available individually and word on the street is that Step 3 vocal & instrumental versions may follow soon after.
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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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