Record Label: Cascade Records
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“In this day and age distance, time and space no longer present the barriers that they previously did. ‘Collision’ the brand new future beats and jnstrumental Hip-Hop EP from Amin Payne (AUS) and Ben bada boom (GER) is testament to this. Having never met in person yet sharing similar and different views of music have collaborated on a musical journey encompassing sound bytes swapped over the digital landscape into a product. This journey showcases the strengths of both of these producers and aims to deliver a unique style.”
BEN BADA BOOM is a 26 year old beatmaker and design artist who is based in Hamburg, Germany. 3B ́s sounds come from various influences such as Electronic, Funk and Soul. He takes those influences and then turns them into something new. With a result clearly linked to hip-hop and broken beat. Current, but difficult to classify genre wise. His compositions are characterized by an occasional glimpse of 8-Bit, some 80’s synth work and Celtic tunes. With something of a stray jazz trumpet defends dirty points. Ben has focused on bringing a new, yet fresh, unheard sound using many unique techniques.
Amin Payne is... Raised in Auckland but currently based in Melbourne, Amin PaYnE’s sound is deeply rooted in both smooth and luscious sample based hip-hop, as well as the modernity and creativity of the current beat scene. Amin Payne is a consistent crate digger with influences in both taste and production style as varied and complimentary as J-Dilla, Pete Rock, Kashiff, Isley Brothers, and Marvin Gaye. A mix of both vintage and fresh sounds clearly reflect the dusty and crunchy, yet soulful music. Amin was a recent member of the Sold out Red Bull beat suite which was a performance with a 15 piece orchestra, 3 beatmakers, 2 turtablists and Aloe Blacc & ladi 6. Amin has shared stages with Flying Lotus, Gaslamp Killer, Peanut Butter Wolf, Eric Lau, Kev Brown, Ras G, Kaytranada, Oddisee ..
A2 Uturn Meon
A3 Moon To Mars
A4 Coast 2 Coast
B2 A Long Time Feat Hannah [Alta] B3 Laylow Feat Silent Jay
B4 Sunset on Staturn
B5 Lucid Dreams
With this limited run of slipmats designed exclusively for FatBeats.com by our friend Joe Buck -- perhaps most famous for his work with De La Soul and Redefinition Records, you can now rep your favorite record store everywhere your decks take you. Includes one pair of (two) white Fat Beats "Crates" slipmats and a die-cut Fat Beats logo sticker, while supplies last.
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A Michigan producer/emcee, 14KT hit the scene in 1994, rhyming and making beats with Binary Star affiliates Athletic Mic League. Fourteen years later, he dropped his first solo project: the well-received instrumental collection The Golden Hour, focusing solely on rap-free tracks influenced by the late great J Dilla (whom he calls his musical mentor).Nowalataz followed in 2009, leading to growing props and a spot in the Red Bull Big Tune beat battle. (He won, setting the stage for his popular 14KillaTape.) Arguably his best release to date, A Friendly Game of KT assembles 14 joints loaded with unpredictable drum programming, moody keyboards, obscure samples, and trippy sound effects. Perfect for fans of fellow Michigan beat maestros Dilla and Black Milk, it’s something you can put on and listen to all the way through, whether you’re driving, working, partying, or just chilling on the couch. Standouts are “Ain’t Really That Funny (Janet Flip),” “Blessed,” “Lessons from IX Lives,” and “Where Else? (One for ATCQ).” -iTunes
14KT's "Solid Gold Sevens" series couldn't start off any better than this. Turning D'Angelo's cover of that purple guy's "She's Always In My Hair" into a mid tempo two stepper, this limited 45 will get the people moving. Grab them fast. They will be gone.
Eccentric soul and funk recordings from an unlikely crew of Los Angeles musical misfits – including psych-rock cult figure John Greek (Reachin’ Arcesia, Beautiful Daze) and members of the Watts 103rd St. Rhythm Band. They had a catchy, but inappropriate name: there is nothing forthcoming about Los Angeles’ 4th Coming, unless one counts a copious amount of releases – on rare 7” singles – that didn’t sell farther than vocalist/principal Henry “Hank” Porter’s Datsun 1200 could take him. When 4th Coming records surfaced in the '90s, they were often disregarded as novelty. And some of their records were so rare that it took until the late ‘00s for them to reemerge, after the sinking of their initial pressing runs. Assembling a complete set of 4th Coming recordings was nearly impossible, until the issue of this, the lost 4th Coming album. At its core, the 4th Coming was a songwriting duo – Porter and Jechonias “Jack” S. Williams – and a rotating cast of musicians – including members of lauded LA funk ensemble the Watts 103rd St. Rhythm Band - that Williams assembled at Artist Recording Studio to realize the pair’s ideas. They existed only from the latter half of 1969 until 1974; during that time they issued eight singles as 4th Coming and one as Impact! on Al Firth's Alpha imprint. And now, Strange Things, a thrilling listen, a mysterious trove of recordings made possible by an open minded and well-funded indie impresario, which document a very real and very weird Los Angeles of the past. It’s a city we’ll never know again, and one that might never again produce an ensemble like the 4th Coming. If Firth’s faith only rolled snake-eyes in terms of commercial success, in terms of documenting Los Angeles’ vibrant soul and funk underground, he rolled boxcars. This, the album Williams and Firth always hoped would bring them real success, now sees its complete release and allows us to ponder the might-have and the would-have beens – had a 4th Coming album come together in the mid-‘70s.