Gotham-based beat scientist Space People returns to Styles Upon Styles with Wet, the long-awaited follow-up to last years debut, SHMM. From the neck-snapping wobble of East to the clap-that-ass insistence of Work, Wet finds Space People combining a postTimbaland, found-sound futurism with a powerful helping of gridless, hard-swinging cosmic slop. But here, a hard ear for the weird doesnt mean a lean towards the tedious, as is often the case: the six-track set clocks in at just shy of 16 minutes, a refreshing bid for concise length and split-second motivic development in an age in which the oceans motion is often all but an afterthought. Wet succeeds as a work both succinct and expressive, tending as much towards the psychic as the overtly sexual, and uniting the two in a humid orgy of avant-garde boom-bap and boogie bass. A capable multi-instrumentalist and native New Yorker, Space People builds frenetic, funk-laden tracks using digital and analog synthesizers, drum machines, and an expansive sample library. His work showcases a sound that is just as likely to recall Charles Stepneys cinematic arranging or Giorgio Moroders harmonic palette, as it is J Dillas poltergeist trying to skype you through your home appliances. His career as a collaborator has been unusually fruitful. Hes maintained a decade-long partnership with songwriter Gabriel Garzón-Montano with several releases to date, most recently the official remix of Mayer Hawthornes Lingerie & Candlewax. He has garnered critical acclaim for his production work on Chiren, the 2016 EP from fellow Styles artists Quincy Vidal, and remains an indispensable part of their live performances. Most recently, he served as music director for the debut live performance of Latasha Alcindors B(LA)K at National Sawdust. The visual components to Wet - both the album design and the title tracks accompanying video - were carefully crafted by longtime Styles collaborator, multimedia artist Santiago Carrasquilla.
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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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