Based on the Irvine Welsh novel of the same name, the film version of 'Trainspotting' directed by Danny Boyle became a cult sensation. Focused on the heroin subculture of Edinburgh in the 1980s, the film is occupied with surrealism, black comedy and features a great soundtrack. This album includes tracks from Iggy Pop, New Order, Blur, Underworld and many more. To celebrate the 20th anniversary of the iconic drama, the original soundtrack is being reissued on CD and vinyl. Having been out of print for a long time, the 180g vinyl features replica original artwork that includes special silver spot finishes throughout - front, back, booklet and picture labels, as well as bright pantones. There will be a limited run on orange vinyl before moving to black once sold out.
One of Prurient’s most captivating raids on the borderlands of power noise and symphonic doom rears its furious head once again for this epic gatefold reissue on Hospital Productions, 10 years on from its original release on double tape and then as a single vinyl pressing for the legendary Load Records in 2007. Pleasure Ground stands as a key part of Prurient’s golden quadrant alongside The History Of Aids (2002), Black Vase (2005) and Cocaine Death (2008), its immolating rage renders Fernow at an early crest of his energies, consolidating the hi-pitch intensity and bile of his idols, Whitehouse, with the majestic, meditative inspirations of Black Metal and a more personalised bloodlust for unheimlich synth tones and pulsating electronic undercurrents. Its four long tracks are riven with the paradoxes that make Prurient’s music so compelling and practically a genre unto itself, meting out a sound in Earthworks / Buried in Secret that’s simultaneously nerve-gnawing yet bleakly tender, or weighing up caustic harshness with a melodic vulnerability in Apple Tree Victim that appeals far beyond the bombed-out no mans land of pure noise to intersect with the entrails of EBM in the raging but poised thunder of Military Road - one of his finest moments, bar none - and coldwave pop and fetishistic synth themes in Outdoorsman/Indestructible. If you’re willing to bite down you will find a depth of bittersweet flavour submerged beneath the tidal waves of white noise filled with nuance and vulnerability, slowly dragging you into the abyss. Ultimately though, there’s no mistaking that in the end this album is just unflinchingly fucking heavy...
The latest from Los Angeles synthesis figurehead M. Geddes Gengras consolidates his entire arsenal of techniques and compositional tricks into a four-sided opus of immersive sound worship. Recorded and assembled across six years and far-flung geographies (California, Connecticut, The Netherlands), Interior Architecture was imagined as an ''impossible object,'' simultaneously stark and lush, sprawling and concise, analog and digital. Gengras' array of processing modules allow for a near-infinite complexity of texture and movement: tones rise and morph and recede, inscrutable chords float in space, elements integrate and then refuse resolution. Long-time associate Seth Kasselmanguests on clarinet throughout Side C but otherwise Architecture is, as per usual, a solitary affair - the rogue alchemist alone at his mainframe, the laboratory thick with smoke. His is an ambiguous and experiential form of tactile psychedelia, electronic rorschach tests for the 21st century. Gengras' own assessment is suitably consuming: ''At its best it should feel like sinking into really warm quicksand or dying of hypothermia.''
One of the most iconic and infamous titles in FZ's entire catalog, Joe's Garage, has gone down in history as one of Frank Zappa's greatest works. This 1979 epic in three acts, on three discs, predicted the future of censorship, self described by FZ as: 'A stupid little story about how the government is going to do away with music.
The Mark, Tom & Travis Show: The Enema Strikes Back is a live album by Blink182, recorded over two nights at performances in the band's home of California in November 1999. 'Man Overboard', a studio version of a track originally considered (but not recorded) for the band's Enema of the State album, accompanies the release and was issued as its lead single, peaking at number two on Billboard's Modern Rock Tracks chart.
Take Off Your Pants and Jacket was originally released on June 12, 2001. The title is a tongue-in-cheek pun on male masturbation (take off your pants and jack it). The album had near immediate success, becoming the first punk rock identified record to debut at number one on the Billboard 200 and being certified double platinum in May 2002. The album produced three hit singles - 'The Rock Show', ''First Date' and 'Stay Together for the Kids' - that were top ten hits on modern rock charts.
High Quality Dolby Digital Audio Transfers, Audio Pro Low Noise / High Output Tab In Cassette Tapes. Deluxe packaging with a 6 panel J card. Colors will be random: Black Shell with a White Sticker Full Color Print (Limited to 500 Copies), White Shell with Blue Ink (Limited to 1,000 copies) and Light Blue Shell with White Ink (Limited to 1,000 Copies).If the title Enema of the State didn't give it away, it should be clear from songs like ''Dumpweed,'' ''What's My Age Again?,'' and ''Dysentery Gary'' that moving to a major label isn't a sign of maturity for blink-182. ''Dammit (Growing Up),'' the first single from their third album, Dude Ranch, brought them a wider audience and the attention of major labels, which was just too tempting to resist. They signed with MCA, but the only sign that Enema of the State is a major-label effort is the somewhat cleaner production and the fact that they could afford porn superstar Janine -- all decked out as (surprise!) an enema nurse -- for the album cover. Of course, the lovely Janine is as much an indication as ''Going Away to College,'' a catchy little number that pretty much repeats the narrative of ''Dammit'': blink-182 is not growing up, no way, no how, nowhere. And that's fine, because few of their peers are quite as blissfully stupid and effortlessly catchy as them. Sure, they might not show the emotional depth of Green Day, but they have good tunes and deliver them in a speedy, punchy fashion. Enema of the State isn't going to change anyone's life -- unless it's the first time a 13-year-old boy has seen Janine -- and it will likely irritate old codgers, but it's a fun record that's better than the average neo-punk release. ~ Stephen Thomas Erlewine
Recorded throughout 2003, Blink182 marks a departure from the band's earlier work, infusing experimental elements into their usual pop punk sound, inspired by lifestyle changes (the band members all became fathers before the album was released) and side projects. The record features a collaboration with The Cure frontman Robert Smith. Lead singles 'Feeling This' and 'I Miss You' received the most radio airplay of the four singles released and peaked high on Billboard charts.
Black Sabbath are arguably the most influential heavy metal band of all time. The band helped to create the genre with ground breaking releases such as Paranoid, an album that Rolling Stone magazine said ''changed music forever'', and called the band ''the Beatles of heavy metal''. The Ultimate Collection is curated in conjunction with the band, the 31-track collection features the band's classic songs including Paranoid, Iron Man, War Pigs, N.I.B. and The Wizard as well as choice cuts from their classic albums and is the definitive accompaniment for all Sabbath fans as well as those with a love of hard rock.
Blunted On Reality is the 1994 debut album by Wyclef Jean, Lauryn Hill and Pras Michel, collectively known as The Fugees. The album contains less political lyrics than their second album The Score, but there definitively were political intentions. As Wyclef Jean described the meaning of the title in an interview: ''When the cop is messing around with somebody for something that the person didn't do and they try to set 'em up, that makes me blunted on reality. When the government is taking money on arms... and that money could be going back to the community it makes me blunted on reality. It's just awareness of what's going on... that's what blunted on reality means... '' The album spawned 3 singles; ''Nappy Heads'', ''Vocab'' and ''Boof Baf'' and started selling big quantities, eventually reaching gold and platinum status, after the release of their critically acclaimed album The Score in 1996.
Maxwell s 4th studio album BLACKsummers'night was the first in a music trilogy series that Maxwell began 7 years ago. In lieu of the release of the 2nd part of the series blackSUMMERS'night, Legacy is proud to release the first-ever 12" vinyl edition of BLACKsummer'snight as a limited edition Metallic Silver collectible pressed on 150gram vinyl featuring the singles "Pretty Wings", "Bad Habits", "Cold" and "Fistful of Tears".
In honor of the 20th Anniversary of Maxwell's Urban Hang Suite, the artist's game-changing debut album, a special 2LP collection will be released. Pressed on Metallic Gold 12" 150gram vinyl, this LP package comes with an 8-page booklet that includes rare images from the original album and single photo shoots. The booklet also includes a very special pair of revelatory new essays: 1) an appreciation of Maxwell and his music by noted R&B scholar, music/culture critic, journalist and filmmaker Nelson George; and 2) a behind-the-scenes reminiscence on the making of Maxwell's Urban Hang Suite penned by music industry veteran Mitchell Cohen, who, as Senior Vice President of A&R at Columbia Records, signed Maxwell to the label and helped shepherd the music from raw concept to full realization.
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.
Three years after the critically acclaimed and heart wrenching 'Sea Change' Beck returns with 'Guero', that reunites Beck with classic co-conspirators the Dust Brothers. Beck explores territories uncharted by even this most innovative artist of his generation.
This is among our favorite Tom Ze albums. Richard Gehr who writes so much better then we had this to say about Tom: You don't need to be a polymath to love Tom Zé's's music, but it helps. A seminal figure of the early-'70s Tropicalismo movement in Brazil that launched the careers of Caetano Veloso, Gilberto Gil and Os Mutantes, among others, Zé's is a card-carrying cultural cannibal inspired equally by both ideas and sounds. "I don't make art," he has said. "I make spoken or sung journalism." By way of explaining his unique outsider status in Brazilian popular music for National Public Radio, Zé recalled how he "discovered at a young age that I was horrible composer, a horrible instrumentalist, and a horrible singer." Like Lee Perry, George Clinton, Kip Hanrahan and Hal Willner, Zé is a genre unto himself, an uncompromising ringmaster with a talent for marshaling mighty forces to manifest his idiosyncratic musical visions. Born Antonio José Santana Martins in the outback village of Irara, Bahia, in 1936, Tom Zé was a semipopular singer-songwriter from his eponymous debut album in 1968 through the '70s. By the end of the '80s, however, a discouraged Zé was on the verge of abandoning music completely. In fact, he was on the verge of assuming management of a gas station with his wife when he learned that David Byrne wanted to meet him. Drawn to its barbed-wire cover illustration, Byrne had picked up a copy of Zé's 1975 album Estudando o Samba (Studying Samba) while visiting Brazil, and wanted to meet its maker. The following Luaka Bop releases of Tom's music revitalized his career, nowhere more so then in Brazil. Tom's third Luaka Bop album, Com Defeito de Fabricao (Fabrication Defect), is Zé's most fully realized so far. It consists of fourteen "defects," tracks Zé's composed through his "esthetics of plagiarism," or arrasto, which he defined as "'wilding' with a purpose, i.e. robbery." Zé's denounces cynical first-world purveyors of commercialized crap to the third-world masses while celebrating said masses' supposed imperfections: religious hypocrisy, curiosity, stupidity, raging youthful hormones and a love of dance. One perfect moment: in "Juventude Javali," a chorus sings of how "the wine of open legs/ Soaks the offerings on the altar" in a harmony so lovely and effortless you could cry. And it's hard to believe the Nortec Collective has never enjoyed the consummate Northeast accordion techno of Fabrication's "Xiquexique," whose lyrics contains a nod to the late, great Pernambuco star Chico Science. In its overwhelming beauty, willful ignorance, and bottomless wealth of ideas and pleasures, Ze's music reminds me of a photograph someone recently sent me of Marilyn Monroe perusing the final page of James Joyce's Ulysses, the perfect monument to fatal condescension.
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.
The next volume of Wonderwheel's long running Turntables on the Hudson series, curated by Nickodemus, heads down to the Caribbean encompassing diverse music made for the dancefloor. TOTC touches on the culturally rich shores of Cuba, Puerto Rico, Haiti, Jamaica, Belize, Mexico, Colombia and the USA and beyond with Island inspired vibes. This double 7" taken with our favorite cuts from the compilation features tracks from DJ Jigoe, Captain Planet feat Chico Mann, Corrado Bucci, and Poirier. On the A side, Afro Cuban artist and recent US & UK Press Darling DJ Jigue gives us the stripped down, Cuban house stomper that is "RIVE", while on the B side Italian producer Corrado Bucci teams up with the classic Columbian group Los Corraleros de Majaguel for a brand new modern take on their Cumbia classic "La Cuidad De Eterna Primavera". On the C side, Captain Planet & Chico Mann's tropical AfroLatin dancefloor smash "Aguacero" finally sees vinyl release, while on the D side, Montreal producer Poirier delivers a jumping Haitian/Creole tune "Pale Mal" with Fwonte on vocals to round out the compilation.
Bundle includes official 2016 reissues of Beck's seminal classics, Odelay and Sea Change, on LP and 2xLP vinyl, respectively. Odelay (LP -140 Gram Vinyl)Originally released in June of 1996, Beck's second major label album, Odelay, was his chance to prove that he was no one-hit wonder. His major label debut, Mellow Gold, had produced the hit single "Loser," but there was a sense he hadn't quite won over everyone and it was hard to tell exactly who Beck was. Was he joking? Was he serious? Was he simply some sort of beat-poet novelty act? With Odelay, he enlisted the Dust Brothers, most famous at this point for being behind the boards for the Beastie Boys' 1989 sonic-collage opus Paul's Boutique. Together they crafted a classic. Sea Change (2xLP - Gatefold + Download Card)Drawing from hip-hop, folk, psychedlia, pop, rock and experimental, Beck defined himself as a warped poet in the '90s. Always changing and evloving his moods, Sea Change is a prime example of the singer/songwriters evolution within his craft. The finest example of Beck's talents as a singer, songwriter and musician.
Danish producer Uffe Christensen returns to Tartelet Records with his second LP 'No', a deeply personal LP to follow 2015's debut 'Radio Days'. Every bit as abundant as his first, it's a record that scales polyrhythmic percussion, improvised jazz, & billowing ballads. This, that and so much more, it's a triumph of one man's instinctive ear - and should be consumed in one sitting.
RX Bandits announce the 10th anniversary reissue of their album, ...And The Battle Begun, and U.S. tour performing it in its entirety. The 2006 album was the very first release on the Sargent House label, begun by Cathy Pellow (as well as the management company of the same name). The special double LP anniversary edition will be available for the first time at retail. RX Bandits founding member Matthew Embree reminisces about the album: “...Battle is the sound of us playing music in a room together, in the summer of 2005. It was a definitive crossroads for the band, one that would lead to some of our most favorable adventures. In my opinion, Sargent House/Cathy saved our career.” - Matt Embree
David Byrne bought a CD in Tower Records on Broadway (when there was such a thing) because he liked the cover. It was band named Los Amigos Invisibles from Venezuela. I really liked the album and said, "Let's sign them!" David said, "Well go down to Venezuela and check them out live." Venezuela had always seemed less interesting then other Latin American countries, at least from what I had heard, but I went. The first show of theirs I saw turned out to be a demonstration for a lighting company. They performed totally in a fog of smoke and I thought, damn I came all this way to see this somewhat sucky performance, that I'm not even really seeing. Luckily I got to see another show that was great. This is the first album we did. When we signed them they were the among only groups in latin rock to play this sort of dance music and they were ignored in Venezuela at the time, now they have gold records and all that.
Following the release of 'Total Exposure' the fiery Argentinian girl group Las Kellies return with new album 'Friends & Lovers'. Las Kellies inflected new wave post-punk blends garage-psych with infectiously deft dance beats and melodic pop. 'Friends & Lovers' fuzzed-up gems sees them move away from the heavier dub sounds of their last record instead sinking their teeth into a groove like Thee Oh Sees with the spirit of ESG and Delta.
Kuedo returns to Planet Mu with his long awaited second album ’Slow Knife’. It’s been five years since his acclaimed debut ‘Severant’ and time has proved it prescient; its futuristic trap influence is now ubiquitous. ‘Slow Knife‘ seems to return to where ‘Severant’ left off, but with the intricate sound design of last year’s haunting EP ‘Assertion Of A Surrounding Presence’ subsumed into the compositions, making them more exacting and beautifully crafted. Between albums Kuedo has been working as a sound designer and composer for hire and the application of intent and widescreen rigour that commercial work requires has definitely found its way into the new album. ‘Slow Knife’ has the subtlety, ambition and pacing of a brilliant soundtrack - a sense of an album of scenes, that easily lends itself to an impressionistic narrative. But, as with ‘Severant’, the title suggests relationship unease, with the slow knife being a metaphor for the building resentment in any close relationship. ‘Slow Knife’ is almost two albums; the first half, according to Kuedo, invokes the seduction of the city, taking the music of Michael Mann’s ‘Manhunter’ as a cue, with the latter half being inspired by the bloody starscapes and voodoo wilderness of films such as ‘Angel Heart’, ‘Night Of The Hunter’ and more recently the ‘True Detective’ series. Both halves of the album are also in thrall to ‘Ghost In The Shell’ and Mica Levi’s inspiring ‘Under The Skin’ soundtrack, especially in the turbulence of the mid-section. The songs of the albums first half are synthetic and seductive, a gelatinous veil with shades of the pseudo-sophisticated trance of Enigma, of all things, underpinned with dusky unsettling shadows and atmosphere. ‘In Your Sleep’, perhaps surprisingly, features the vocals of Hayden Thorpe from Wild Beasts, who settles his dark, whispered vocals into the moonlit shadowy atmosphere. ‘Floating Forest’ is the first track to allow back some of Kuedo’s experimentation with the Southern rap template, which he explored before it became commonplace, with echoed drum splashes and a sinister repetitive motif, ending with a haunting growl. The second half of the album enters wilderness territory with ‘Approaching’s slow descending notes, before ‘Broken Fox - Black Hole’ throws the record into the cathartic darkness, as undulating chords play hide and seek with riotous reeds and scratchy strings grown from challenging collaborations with cello player Koenraad Ecker (of Lumisokea). ‘Breaking The Surface’ shivers and coils, before metal and strings dominate while ‘In Your Skin’ feels like being lost in a vast hinterland before ‘Warmer Light’ introduces some memories of sunshine, with its plucked bassline and spiralling dub. ‘Halogen Light’ opens with the sound of crickets and a clear piano, cleansing the soul before ‘Lathe’ brings things down to earth with a short, yet powerful coda.
Taking one more lap after the finish line, Junior Boys are releasing the Kiss Me All Night EP to cap off their busiest year ever. In addition to releasing the critically acclaimed album Big Black Coat (City Slang Records) Junior Boys' Jeremy Greenspan also released the album Oh No with his collaborator Jessy Lanza (Hyperdub Records) and the But Wait There's More EP with Borys (Jiaolong Records). Now, just in time for an extended US tour in September and October as well as additional European dates, Junior Boys return with brand new material. The ep starts with two extraordinary retro-futuristic club bangers, "Yes“ and "Babyfat.“ It also includes a staple of their live set, the John Martyn cover "Some People Are Crazy,“ and is rounded off by the Paisley Park infused title track "Kiss Me All Night.” Like the end of a long race, it’s hard to come to complete stop. After all of these projects were finished and realized, the compulsion to keep working and working remained. Kiss Me All Night is a kind of amalgam of all of the different projects. It combines the techno production technique of the Jiaolong work, the experimental pop of Jessy Lanza and the subtle fragility of Junior Boys' oldest material. Kiss Me All Night is a final kiss to the year that was.
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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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