In a world full of cheesecake rappers, one man has assembled a phenomenal team to bring you madness. So stop stop what you're doing and get ready for a journey you've never taken before. Enter the sinister doctor, the Ultramagnetic visionary, Kool Keith, whose Feature Magnetic is his latest bizarre transformative odyssey. The album was primarily produced by Number One Producer (another one of Keith's aliases). The new track "World Wide Lamper" featuring rappers, Bars Murre and Dirty Nasty, premiered today at XXL, where Keith explains, "Album is a full ahead of time extravaganza. If you play it backwards you may hear some wild shit." As always, Keith seems unstuck in time, oblivious to geography, brilliantly mixed unflinchingly grim details with surreal, fantastical tangents. He’s from the Bronx, but belongs to far-reaching astral dimensions. And Where many of his contemporaries have become legacy acts or revivalists, Keith continues to originate and perfect his wild style. He’s parked behind Oracle Arena in Oakland with Norah Jones -- riding a horse and carriage through Central Park (bystanders shout that he looks like Mike Tyson). He drinks with MF DOOM in dusty London basement and recruits a legendary squadron of fellow travelers including Sadat X (Brand Nubian), Bumpy Knuckles, Boston pioneer Ed O.G., Slug from Atmosphere, and Vallejo legend Mac Mall. Throughout, Keith weaves in and out of our reality, stopping only long enough to dap his friends and pass the mic. The songs are straightforward: spare, innovative beats, simple hooks, and razor-sharp verses from an unlikely collection of geniuses. Keith switches moods, cadences, and points of view effortlessly. On “Tired” he’s world-weary and unappreciated; on “Bragging Rights,” the mink coat melts off his shoulders like butter. “Peer Pressure” cryptically considers his career and the shifting racial demographics of his audience, a far cry from the scene in “Stratocaster” when he pulls up in the teal Maybach, handing out off-the-book jobs to the people. In an era of careful branding and secret signings, it’s a radical act to put out a rap record where no MC can hide. The no-frills approach is a high-wire act, the kind of format that weeds out the fakes and the imitators. Predictably, however, "Feature Magnetic" is full of world-class acrobats. On the closing track “Writers,” Ras Kass sums it up best: “H-O-R-S, me and Kool Keith playing HORSE with a verse/ ...all you hear is swish.” All Tracks Produced by Number One Producer except tracks 08 (Ocean Ave Records), 09 (Ol Man 80zz & Futurewave), 12 (Giz for Crazy 100)
Limited to 500 copies. Featured 2 color silk screened chipboard jacket. Dibia$e has cemented himself as a producer on the forefront of today's burgeoning beat scene. A product of Watts, CA, Dibia$e found his style in his mothers garage banging out beats while playing video games to avoid the strife of the street life - and he continues to grow with each and every release. Originally released on CD/Digital in 2011, Sound Palace has remained an absentee in Dibi's vinyl catalog...until now. Throughout the instrumental record, Dibiase shows his incredible ability at crafting spaced out 8 bit Nintendo beats merged with a Dilla-esque smoothness and a South Central twist into a sound wholly his own. From Baker's Dozen to Looney Goons to Schematiks, Dibiase's vinyl releases have garnered a reputation for selling out with a quickness. Strictly limited to 500 units and housed in a 2 color chipboard jacket, Sound Palace enables new fans and enthusiasts alike to add a sure shot to their collection.
Archy Marshall, the London singer, songwriter and producer better known as King Krule releases a new mixed- media project, A New Place 2 Drown, his first major release since his 2013 debut album, 6 Feet Beneath The Moon. Originally released digitally in compliment to a 208-page coffee-table book of artwork, poems and photographs assembled in collaboration with Marshall’s brother, A New Place 2 Drown is now available physically in a one time limited vinyl pressing of 2,000 copies. Unlike on his earlier King Krule release, 6 Feet Beneath The Moon, where Marshall’s voice was the star, here he dissolves it into the grey mist of his beats. Mostly he croons or mutters over crackles, drips, and clanks. What it does share with his earlier releases is the ability to create a full fledged three-dimensional world in which the individual records coincide together, full of flickering halogen bulbs, sticky synth keys, and corroded outputs.
Formed in 2009, the prolific Austin, TX experimental synth quartet S U R V I V E have released two full-lengths and numerous EPs / singles since their inception, including recent contributions to the soundtrack for the acclaimed indie horror film The Guest. Additionally, two of the group’s members recently scored the soundtrack for the new hit sci-fi / horror show Stranger Things starring Winona Ryder on Netflix. S U R V I V E have appeared at numerous esteemed festivals across the US including Moogfest, Levitation Fest, Fun Fun Fun, Beserktown, Day in The Desert, Decibel, etc. and have played alongside acts like Goblin, John Maus, Tame Impala, Lightning Bolt, This Will Destroy You, A Place To Bury Strangers, Max Cooper, and many others; Noisey even called their live show “transcendental.” Now, S U R V I V E have completed self-recording their second full-length via their home studios, which will see a September 30 via Relapse. The synth quartet’s sophomore full-length and Relapse debut is a dark, sweeping exercise in analog synth mastery. The pulsating, 9-song instrumental release showcases immense diversity between tracks – RR7349’s compositions range from grim tom-tom thunder to space-age epics, pairing tense plodding grooves with meditative ambience and driving, rhythmic beats. Inspired by IDM and horror scores alike, RR7349 is simultaneously ominous and hopeful; tense and relaxed; percussive and melodic. A unique addition to the Relapse discography, and unquestionably S U R V I V E ‘ s best work to date. S U R V I V E are: Adam Jones / Kyle Dixon / Mark Donica / Michael Stein
Diggin’ In The Crates crew are back in the studio, their own studio at that, and the result is their first new album in 15 years. 15 tracks deep, this album features lyrics and production by all members of the crew, including a few new affiliates. Highlights include a return to the microphone by Lord Finesse on the banger “Rock Shyt”, Fat Joe returning to this legendary Bronx crew and DJ Premier production on “Connect 3”. This album was designed to be the first of many new releases coming out of their new headquarters and label, DITC Studios.
Kindred spirits Boards of Canada and Teebs make an appearance in dreamy collaboration with Odd Nosdam's Sisters Remix EP. Throughout, the producers split time between cosmic, slow burning beats and reflective soundscapes littered with intriguing textures and mind-bending samples. Analogue sounds are generous and knowingly manipulated. Gorgeous samples are deployed, sturdy yet emotional. Cymbals explode. "When the sun finally breaks through on an overcast day, Sisters was very much inspired by that wonderful moment… and the longing for it."
Holy Smoke is the fabled collaboration between producer/rappers Jeremiah Jae & Zeroh. The nine songs recorded together in Los Angeles 2012 focus on the spirit, health and the sacred use of cannabis. The swiftly-produced Holy Smoke sessions got buried in Jae’s relentless release schedule, ultimately archived in 2013 after a fresh signing with Warp Records and return to Chicago. The world’s only clues to these lost sessions came in the appearance of tracks "Trusted Friends” (2012) and “Black Myth” (2013) on HIT+RUN compilation albums. Excavated from the vaults in early 2016, the nine-track self-titled Holy Smoke album, finally sees a proper release on September 13th via HIT+RUN. Available on limited-edition cassette tapes, as well as special 10” colored vinyl (containing unique trails of silver smoke encased in clear wax) and housed in a one-of-a-kind silkscreened jacket (featuring artwork by Zeroh & PsyteOne). Only 400 quantity pressed and each album comes with Holy Smoke matches!
Big Crown Records is proud to present the Bacao Rhythm & Steel Band’s smashing cover of P.I.M.P. on our imprint. Following up on the smashing success of their debut album “55” and a string of essential 45s, we are the third label to press this staple tune. Three labels, three times, three different B sides. Back in 2008 BRSB released it's smashing cover of 50 Cent's P.I.M.P. which was long thought to be the original sample for the tune. The Mocambo pressing already hard to come by and fetching top dollar on the internet has become an underground classic. BRSB treat the tune to their signature smashing drums and bass heavy production, taking the original loop and turning it into a full composition. Brass and steel pan parts putting it somewhere between reggae, steel funk, and the Superfly Soundtrack. Side B is the proper reggae offering from BRSB, a cover of the legendary John Holt’s classic “Police In Helicopter”. Another must have two sider, another Big Crown sureshot.
It’s easy to forget that Norway shares a short stretch of frontier with Russia, right at the northernmost tip of the country. That region is where Geir Jenssen, the Norwegian electronic producer behind Biosphere, comes from, and where he has been composing his austere, disturbing and deeply textured ambience since the early 1980s. Biosphere has released many albums to date including ‘Substrata,’ voted the greatest ambient album of all time on the Hyperreal website, and has collaborated with Arne Nordheim, Higher Intelligence Agency, Deathprod, Pete Namlook and Bel Canto. His 12th album ‘Departed Glories’ is his first in almost five years and marks a new deal with the Oslo independent label Smalltown Supersound. On the cover is a photo of the Russian landscape taken more than a hundred years ago. It’s part of an incredible cache of recently discovered images by the photographer Sergei Prokudin-Gorsky, who pioneered a form of colour photography using three sheets of glass, and left us with a collection of hauntingly beautiful pictures of a vanished world that could have been taken on an iPhone. These are one of the inspirations for Jenssen’s latest project, which he began working on this project around five years ago, while he was based temporarily in Krakow, Poland. Living near the Wolski forest, his daily walk took him past sites – beautiful and at the same time terrible – where Poles had been executed during the second world war. After researching the area he discovered that a Polish medieval queen Bronislawa, had hidden among the trees with some nuns in the 13th century to escape the invading Tartar hordes, and that a monument to her memory had been built and then destroyed by invading Austrians in the 19th. It made him speculate about what kind of music someone like Bronislawa might have heard while trembling among the trees? Not real music, surely, but something the fears in the mind might conjure up. He went in search of local folk music, from Poland and Ukraine, and began to work with that material to transform it into something reflecting psychological trauma. Around the same time he stumbled on Prokudin-Gorsky’s photographs and was immediately struck by the way they brought history, with its long departed souls, a little bit nearer. One image in particular, of an Armenian woman in a forest in what is now Turkey, especially got under his skin. ‘The crystal clear yet haunting atmosphere fascinated me,’ he says. All of these inspirational elements came together to provide the necessary propulsion to make ‘Departed Glories,’ an album that sets the back of the neck hairs quivering in just the same way. It’s almost entirely constructed from hundreds of snippets of Eastern European And Russian folk music recordings, melted together to transform them into 17 unsettling and occasionally blindingly radiant beatless tracks. Each sample fragment is like a sliver of glass plate, and like the photos, it has left a music that is radiant, ghostly and unforgettable.
‘Heads Up’ was recorded after the band spent 2015 apart working on solo projects. Reuniting in January this year, the band started to work with producer Jacob Bercovici, whom they had worked on their debut EP ‘Exquisite Corpse’ – into the studio to begin work on the new LP. The album was recorded in House on The Hill studio in downtown LA, their home studios and Papap’s Palace and for the first time ever, recorded in pairs and alone rather than as a full band. ‘The doors were a little more open in terms of what was accepted and what wasn’t, because we were sharing ideas so rapidly between us” says the band drummer Stella Mozgawa of the recording process. “ “Everybody was allowed to have their space, time and creative freedom with songs and figure out, ‘I wonder what the best notes would be? I wonder what the best would be to play?” says bassist Jenny Lee Linberg “Everybody got to sit and go, “What do I want to do to this? What’s my part? What’s My Role? How can I make it the best?”
On How to Dress Well’s fourth LP, Care, Tom Krell sings about what it really means to care—for others, for the world, and for himself—with a voice which has more clarity and depth than ever before. Care is an exploratory, journeying record in which Krell employs a broad range of distinct styles and emotional tones in pursuit of the knowledge of what it really means to be a human in the world and how to do that in the truest way he can. But Care is not a concept album about the act of caring. It is, Krell says, an “enactment of care.” In other words, he is re-learning how to care for himself and others through this music. “When I wrote these songs, I wanted to make myself feel right. I make music in order to try out feeling true, and weirdly I feel like it took me a long time to connect feeling true and feeling good.” For Krell, this is what care does. The album is a beaming pop record, yet it is a natural step in Krell’s evolution. Now four albums deep, Krell has become something of a career artist, teasing out ideas from earlier records even as he pushes his sound in new directions. Care feels personal, like the work of one man rediscovering every component of his rich life, but it’s actually the product of a fruitful collaborative relationship with a group of trusted producers, including 21st century dancehall innovator Dre Skull (Drake, Popcaan), ambient sound sculptor Kara-Lis Coverdale, experimental electronic producer, Grammy award nominee, and regular How to Dress Well collaborator CFCF, as well as pop maven Jack Antonoff (Taylor Swift, Sia, Tegan and Sara), who brought a polished sound to upbeat tracks “Lost Youth/Lost You” and “I Was Terrible.” The weight of Antonoff’s production and the refined work of mix engineer Andrew Dawson (Kanye West, Sleigh Bells), further accentuate Krell’s remarkable growth as an artist. The producers on Care are a diverse group, from many disparate corners of the music industry. Here, for the first time, Krell acts as an executive producer, coaxing unexpected sounds from his collaborators while allowing them to exist in their own separate contexts, even as they make music that slots seamlessly into the How to Dress Well discography. “It was thrilling,” Krell says, “to push and be pushed in turn by my collaborators. I felt nourished by everything we all developed together and it was easy to grow as a producer, arranger, and musician with their help.”
In My Room presents Fixion, the fourth full-length offering from Anders Trentemøller. With Fixion, Anders has crafted a logical successor to 2013's Lost, a record that in many ways managed to truly capture the visceral live experience of Trentemøller as a full-band. In much the same manner that Lost built on from the somber cinematic classic that was Into The Great Wide Yonder, Fixion has embraced the Danish artist's trademark melancholy and matured it into something uniquely atmospheric and darkly romantic.
Meddle represents Pink Floyd’s first actualization of the sounds inside their collective heads. Recording studio technology and their own instrumental prowess finally evolved to the point where the band’s lush dreamscapes could now be reliably replicated. Considered a “transitional” album between the band’s beginnings and the conceptually ambitious The Dark Side of the Moon, Meddle stands as one of the era’s strongest post-psychedelia statements. The lead track, “One of These Days,” pulses with an extraterrestrial step alongside the swirling keyboard washes. “A Pillow of Winds” is a perfect staring-at-the-sun acoustic daydream ballad. In the middle of the first half of album rests “Fearless,” one of the group’s finest, most mellow performances and a mixture of cosmic groove and acoustic folk. Meanwhile, the 23-1/2 minutes of “Echoes,” from its initial beeps through its multi-part instrumental drive, exemplifies the band’s love for grandeur. Most importantly, Meddle shows the band operating as a collective, writing together and adding unexpected flourishes throughout.
Prince arrived on the scene in the late-70s, and it didn't take long for him to upend the music world with his startling music and arresting demeanor. He rewrote the rulebook, forging a synthesis of black funk and white rock that served as a blueprint for cutting-edge music in the '80s. He made dance music that rocked and rock music that had a bristling, funky backbone. From the beginning, his music was androgynous, sly, sexy and provocative. His colorful image and revolutionary music made him a figure comparable in paradigm-shifting impact to Little Richard, James Brown, Jimi Hendrix and George Clinton. For any other artist following up such a defining record as Purple Rain (1984) would have been a monumental task, but Prince already had another classic album, Around the World in a Day, in the can. A tour de force of psychedelic soul originally released in 1985, it became his second consecutive No. 1 album and the first to appear on his own Paisley Park label (a Warner Bros. subsidiary). With Prince-mania in full effect, Around the World in a Day generated two more Top 10 hits with the equally cool and captivating cuts "Raspberry Beret" (No. 2) and "Pop Life" (No. 7).
Virginia-born singer/songwriter Nicole Wray has everything you’d want in a singer: an infectious Jackson-5-family-member flare, a range like Aretha’s, and a church upbringing that’s brought a pure, healing texture to her voice. But the struggle she’s been through has made her more than a singer. Nicole Wray is an artist. When talking about Queen Alone, her first solo album in some time, Nicole explains, “It’s a reflection of my soul. It’s who I am today.” And aptly so. Released on Brooklyn’s Big Crown Records, Nicole is writing and singing songs about her life. And yet to even start to know her soul, you have to go back to the beginning. Growing up in Portsmouth was tough at times for Nicole. However, at the age of fifteen, life opened up quickly when Missy Elliot paid a visit to Nicole’s family home to audition her on the spot. Missy was there on the rumored strength and quality of her voice. Instantly blowing her away, she signed and left with Missy that night. Two years later, at age 17, she had a hit gold single off a solid debut album (Make It Hot). Suddenly she was part of a team that included late ‘90s R&B and rap royalty: Missy, Aaliyah, Ginuwine, Playa, Timbaland and Magoo. She made it, and fast. However, as rapidly as she achieved success, Nicole then found herself needing to re-make it. By late 2001, her time with Missy and company had run its course. They amicably parted ways and Nicole, once on top of the R&B world, was unsure of what was next. It was a very low, but important, point in her life. While her passion and talent propelled her forward–friends disappeared and her purpose seemed unclear. While neck-deep in this struggle, Damon Dash and Roc-A-Fella Records called. They signed an album deal and by 2004, in what was starting to be a pattern, just as things were looking up Roc-A-Fella suddenly (famously) split. Once again, industry factors beyond her control took charge. Like a recurring dream, Nicole found herself in a familiar situation. Having just been in the spotlight, and then again back living the “real life.” In 2013, Nicole paired up with London vocalist Terri Walker and released the album Lady. Once again, Nicole was tested. Terri parted ways with the group to pursue her own projects shortly after the album’s release–despite rave reviews and upcoming travel dates. Fast forward to now–the transformation from singer-for-hire to pure artist is evident in this new full-length solo release, Queen Alone. The record was written and recorded in 10 days at the legendary Diamond Mine Studios, in Queens NY with Leon Michels and Tom Brenneck handling production. Nicole says she is “Singing out loud now–singing from the stomach.” Back in 1998 she was coached how to sing, and told to stay in a pocket that never let her show her range, power, and passion. Today, after stutter-stepping in and out of the industry, there is a new soul and substance to her songs–all of it from her life. “They Don't Hang Around"", tells the story of her post Roc-a-Fella days, “Guilty"", is about her brother’s incarceration, “Make Me Over"" tells the relatable story of being broke with expensive taste, and ‘Let It Go”, a perfect way to end the record, is about the simple act of letting go and moving on. Almost echoing her new record, Nicole says, “You have to go through something for it to be real.” She has been living with one foot in fame and the other in real life. The result is clear: she’s feeling something real in her music again. And it’s hard for us as listeners not to follow suit.
Slice Of Spice is proud to present the previously unreleased El Da Sensei and K-Def collaboration, "The Jersey Connection", released in conjunction with Ghettoman Beats. This album was sat in the archives for nearly a decade, but is finally getting the release it deserves. El Da Sensei is Mean "Johnny" Barrows and K-Def is Ghettoman in this gritty New Jersey soundtrack. These two combine as 'The Enforcers' taking down anyone who gets in their way on a mission to give you what you need...quality hip hop! No soundtrack is complete without quality art and this doesn't disappoint with an incredible cover illustrating by Fred Whyte.
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