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Chicago MC's follow up to breakout mixtape 'The Water(s)'. Fts production from Kaytranada, Lee Bannon & THEMpeople, as well as guest spots from The Mind, Saba, Sean Deaux & Donnie Trumpet. Establishes him as bright part hip hop's future.
“EOS/WOOD” is the new release from Vampire Weekend’s core-member and producer Rostam. These singles represent his starkest and perhaps most arresting music to date— the merging of western classical and Middle-eastern music that has always been an aspect of his work is still intact—however it’s never been placed in such a minimalist environment. The son of Iranian refugees, Grammy Award-winning producer Rostam Batmanglij was born in Washington, D.C. in 1983. He attended Columbia University where he studied classical music. At the same time he focused on honing his skill as a producer, through recordings he made on campus. In 2006 he began producing what would be the first full-length album in his discography, Vampire Weekend’s self-titled debut (XL, 2008). 2009 saw the release of the Discovery LP, throughout which Rostam was not only producer but also vocalist along side Ra Ra Riot’s Wes Miles. Vampire Weekend’s Contra and Modern Vampires Of The City — the former produced by Rostam and the latter featuring joint production by Rostam and Ariel Rechtshaid on every song— were released in 2010 and 2013 respectively and both debuted at #1 in the U.S.. Since the release of Modern Vampires Of The City, Rostam has worked as a producer with artists such as Jenny Lewis, Charli XCX, Hamilton Leithauser and Carly Rae Jepsen. The music he makes on his own is released under his first name, Rostam.
We are thrilled to announce the first new music from Hendrik Weber – a.k.a Pantha Du Prince - since his 2013 collaboration with The Bell Laboratory, and the first proper Pantha Du Prince release in six years. Pantha Du Prince’s 2010 masterpiece, long-player Black Noise, is well acknowledged to have expanded both the sonic and emotional possibilities of minimal techno; the songs’ warmth, intricacy, and creative boundary-pushing, have earned him a seat in the Pantheon of modern electronic music, alongside contemporaries like Burial, Four Tet, or The Field. With his wildly-anticipated new music, Weber expands his scope: the crystalline delicacy of “The Winter Hymn” is deeply evocative of the track’s namesake season; “Post human palisades” finds him merging electronic and organic instrumentation into a delicate narrative of alienation and other, bolstered by a pulsing dance floor heartbeat; and “Dream Yourself Awake” is filmic and transfixing.
LIMITED TO 1000 COPIES WORLDWIDE, EACH WITH AN INDIVIDUAL COVER. Featuring new music from Zomby, MssingNo, Kaytranada, Powell and more. Twenty years after the 5th Chapter, the story continues. Chapter VI celebrates the very best of today's underground. When XL Recordings released The 5th Chapter in 1995, the world was a very different place. Tupac Shakur was still alive, America was yet to elect a black president and the internet was just something you’d read about. Ecstasy, jungle and hardcore were shaping club culture in the UK and defining the way that a generation of youth moved, sounded and looked. The government had just passed the Criminal Justice and Public Order Act in a bid to kill off free parties, the tabloids doggedly printed page after page on the sins of raving, while the soundsystems of Britain rumbled hard underground. Two decades later and our world is unrecognizable. Kids MC off phones at the back of buses, artists collaborate without ever meeting and ecstasy came, went and came again. But one thing has always remained defiantly present – the underground. XL may have spread its antennae far and wide but at its core its DNA is made up of weird, outsider, two-fingers-up electronic records that crawl out of the concrete and onto wax. XL began as a label by selling 12”s to rave DJs, with the best releases pressed onto an annual compilation. The last in the series dropped in 1995 as the label widened its scope. Twenty years on and now is the time to reconnect with the genesis of XL. XL Chapter VI is a vinyl-focused release that wholly embraces the chosen audio format of the decade – all artists on the compilation will be releasing club-ready 12” EPs on XL, a throwback to the dancefloor artillery attitudes that were cultivated at the turn of the 90s. The Chapters provided a regular platform for artists concerned with reshaping the underground and consequently, culture. Think of Liquid’s “Sweet Harmony”, “Everybody In The Place” by The Prodigy or “DJs Take Control” by SL2. These are names and songs that led a new wave of dance music. Fast forward far into a different millennium and those names have been replaced by a different crew forging a path into new futures. Zomby, Powell, KAYTRANDA, MssingNo, GILA, Homepark, Hugo Massien, rLr, Mumdance, Novelist and Special Request are the artists that are endeavoring to shape not just a way of dancing, but a way of thinking. This part of the story may feature different production techniques and new aesthetics to the last installment but its spirit remains totally the same. It's a celebrated tenet of dance music that it must look back to move forward, so the snaky acid basslines, brutally sparse beats and the synth melodies that soundtrack the post-club early hours, are all still there. Electronic music is more than listening to records. Our appetite for lowly lit basements packed with people and equipped big soundsystems is endless. This collection is a celebration of that primalism, an uncompromising look at the very best of the world’s underground – a journey through the clubs, the cities and the culture. The story continues.
From the moment you hear the bristling boom-bap chorus on album-opener "Totally Mutual Feeling," it's apparent that Lushlife's third full-length finds the Philadelphia rapper-producer at his most introspective. Themes of isolation and mortality permeate Ritualize, a cinematic hour-long odyssey co-produced by enigmatic production trio, CSLSX (pronounced "Casual Sex") and featuring contributions from Ariel Pink, Killer Mike, Marissa Nadler, RJD2, and more. With CSLSX at the boards, an entire universe opens up for Lush, where the pulsating Juno synths of '80s LA night music sit side-by-side with gorgeously propulsive indie-leaning jams, and low-fi soul burners too. The resulting LP is a post-blog-era joint that seems to exhale the whole of the 20th century in a single, fascinating breath.
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Having been inspired by everything from experimental electronic music to Danish '80s and '90s pop, to modern hip-hop and R&B to techno and westcoast slow jams, Choir of Young Believers' Jannis Noya Makgrigiannis had made a new, imaginary band in his head called Grasque to reflect those influences. He quickly recorded both "Græske" and "Face Melting" with Aske Zidore, who had also produced Rhine Gold, and when Choir of Young Believers reconvened to tour with Depeche Mode, he wrote a few guitar-based songs to play live. Gradually, he realized all of his new ideas and music could melt together with Choir of Young Believers.The result is an album that is confident and expansive, incorporating an encyclopedia of styles while still maintaining the essential elements of Choir of Young Believers' DNA. It's pop music, put through a kaleidoscopic filter.
In 2015 Adrian Younge provided Ghostface Killah with a sonic backdrop equal parts hip hop and Italian horror, as much Ennio Morricone as sweet boom bap. Select singles from the project will now be available, presented here “Death’s Invitation b/w Let The Record Spin” in a full color jacket. 12 Reasons To Die II is vividly brought to life with the help of Younge’s never-endingly evocative and unique brand of cinematic, psychedelic soul. The music – on which Younge himself plays upwards of 10 instruments – was recorded strictly on analog tape, to bring out the true grit of the ‘70s era that provides the Twelve Reasons backdrop. Younge’s work of course sounds great – as presented here, it looks as good as it sounds with the Italian horror inspired graphics splattered all over the full color jacket.
Bizarre Ride II The Pharcyde is, simply put, one of the most perfect albums in the history of recorded music regardless of genre. From the lyrical flow of Slimkid3, Bootie Brown, Imani and Fatlip to the cover art by Fuct the project is the embodiment of excellence start to finish. Musically, the foundation of this perfection is the production work of J-Swift. His use of jazz samples, phat beats and live instrumentation had the ultimate effect of “creating their own sonic utopia”, as NME put it. As such it’s more than fitting that Pharcyde’s Bizarre Ride II The Pharcyde be released as an all instrumental outing. Swift’s adventurous use of samples from jazz, R&B, funk, classic rock and more melded with his personal additions of live instrumentation including piano, bass, and Fender Rhodes along with drum arrangements from fellow producer JMD create a lush, jazzy soundscape that works well as a stand alone recording. Though the west coast’s predominant G-Funk sound of the time or the east coast’s conscious kings De La Soul may have sold more records at the time, The Pharcyde and J-Swift’s work on Bizarre Ride has stood the text of time and continues to resonate with fans new and old in a way that few records have or ever will.
Returning after their Last Transmission collaborative album with Melvin Van Peebles, the Heliocentrics finish off their trawl through the vaults of tracks recorded at their old digs – Quatermass Studios – with psychedelic tinged funk and jazz instrumentals Rolling Stone describes as “…sprawling, with percussive patterns that suddenly morph into extraterrestrial sound blasts and opaque, detouring patterns.”
Get On Down presents a unique way to proudly re-live your “hip-house” past, with a 7” reissue of the Jungle Brothers’ infectious 1988 hit “I’ll House You,” which was arranged by the legendary Todd Terry. On the B-Side is a fan favorite from the group’s stellar Straight Out The Jungle album, “On The Run,” which was released as its own single in 1988. Group commentary on both songs, taken from Brian Coleman’s book Rakim Told Me: I’LL HOUSE YOUMIKE G: That was produced by Todd Terry and us. It was [a different] Todd Terry song, initially. They left us with the track and we wrote the lyrics to it, and did our mix version to it. At the time, we were getting into house music, and hitting all the clubs.AFRIKA BABY BAM: They were laughing at it at first, but it became our biggest hit of that time! We were just having fun with it. There used to be a house show on Kiss FM after Red [Alert], so he’d always play that as his last song. ON THE RUNAFRIKA BABY BAM: That was complicated to make. DJ Sugar Shaft from X-Clan used to cut up that break all the time. “Push Up,” by some rock band, I think. I looped it up like a machine gun beat. The bassline was from “The Mexican” [by Babe Ruth]. Mike kicked the lyrics to me at first over the phone. He said, “I’m a Scooby Doo so I don’t be late” and I was like: “Wow!”
For starters, this platter begins with one of the great intros of all time: “Ladies and gentlemen, there are seven acknowledged wonders of the world. You are about to witness the eighth…” Lodged in a deep groove between the JB’s’ debut LP Food For Thought (1972) and the more complex and at-times political Damn Right, I Am Somebody (from 1974) sits the ridiculously vampy and infectious classic, Doing It To Death. First moving hips and making heads nod in 1973, the James Brown-produced, 5-song album is one big funk lick, broken up into many delicious moving parts. As with pretty much everything produced by the JB’s – led by Fred Wesley with heavy help from a supporting cast that included saxophonist Maceo Parker, guitarists Jimmy Nolen and Hearlon “Cheese” Martin and drummer John “Jabo” Starks – all songs began and revolved around a devastating riff. The title track is most certainly guilty-as-charged, as it starts strutting right out of the gate and continues for just over 10 minutes, driven by a guitar lick and MCed by the inimitable James Brown, with soloists stepping up and out while the song chugs on. The other centerpiece of the album is the 8-minute “You Can Have Watergate Just Gimme Some Bucks And I’ll Be Straight,” whose groove is interestingly teased two times before it arrives in full form. The song title itself is provocative, and the music keeps a stone-cold groove despite the less than cheery undertones. Again driven by an infectious guitar morsel, the breakdowns in this song gave sampling producers and DJs sweet dreams in the ‘80s, and Fred Wesley’s trombone solo rides beautifully over the group’s cries of “We need some money.” Beyond the aforementioned sure-shots, the twitchy “More Peas,” “La Di Da La Di Day” and the much jazzier, solo-heavy “Sucker” round out this incredible album. It’s just another perfect example of how James Brown’s funk machine could stop the world when they hit a groove.
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Music from the movie Attack on Titan, available for the first time on 2LP green vinyl.
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Roxbury native EDO.G (Edward Anderson) and Da Bulldogs broke into the international Hip Hop arena in 1991 with the release of their debut album "Life Of A Kid In The Ghetto." Several successful singles were released from this first album including the party anthem "I Got To Have It", which went to #1 on the Billboard Hot Rap Singles Chart and on the Yo! MTV Raps countdown. Sales were estimated at over 470,000 units for this first album and during a two year time span between 1991-1992, EDO.G received 3 awards at the annual Boston Music Awards. By 1999 EDO.G earned 2 of the Boston Music Award's most prestigious titles four times over: "Best Rap Album" and "Best Outstanding Act."
Young Thug's debut commercial release, featuring guest appearances from Birdman, T.I., Boosie Badazz, Young Dolph, Yak Gotti, Duke and Jacquees, and production from in-house producers London on da Track, Wheezy, Ricky Racks and Kip Hilson is now available on vinyl.
Ultimate Care II is the new album from renowned conceptual electronics duo Matmos (Drew Daniel and M.C. Schmidt). Recorded in the basement studio of their home in Baltimore, MD the album is constructed entirely out of the sounds generated by a Whirlpool Ultimate Care II model washing machine. Like its namesake, the album runs across its variations as a single, continuous thirty eight minute experience that starts with the grinding turn of the wash size selection wheel, and ends with the alert noise that signals that the wash is done. Between these audio-verité book-ends, we experience an exploded view of the machine, hearing it in normal operation, but also as an object being rubbed and stroked and drummed upon and prodded and sampled and sequenced and processed by the duo, with some occasional extra help from an ultra-local crew of guest stars (some of whom regularly do laundry chez Matmos). Dan Deacon, Max Eilbacher (Horse Lords), Sam Haberman (Horse Lords), Jason Willett (Half Japanese), and Duncan Moore (Needle Gun) all took part, either playing the machine like a drum, processing its audio, or sending MIDI data to the duo's samplers.
February 2016 will see UK-based production duo Letherette release their first new music since 2013's selftitled debut album on Ninja Tune - a record that cemented their place at the forefront of the UK's perpetually shifting electronic underground. Returning from an extended studio interlude, the Refresh EP wastes no time getting down to business, collating four powerhouse trax aimed squarely at the dancefloor and blessed with the signature warmth, soulful character and loping swing that lies at the heart of Letherette's appeal. Simultaneously recalling the certified classic output of early 90s NY imprint Henry Street (Kenny "Dope" Gonzalez, Armand Van Helden, DJ Sneak) and the instantly addictive grooves of Pepe Bradock, Motor City Drum Ensemble and Joey Beltram, Refresh is a startling comeback and signal of intent for 2016.
Wanda Group valiantly returns for their third release on NNA Tapes. Since the project’s debut “Bass Urine” in 2011, Louis Johnstone seems to have worked diligently to eradicate all traces of traditional “music” from his work, leaving behind only the acousmatic sounds of life itself, deepening the journey down the rabbit hole of musique concrete. Although “Ornate Circular” seems to be constructed from various tape and field recordings, electronic signal processing, radio interference and digital effects, Wanda Group refuses to make these elements the emphasis of the work or give any clues as to their origin. What Johnstone presents us with instead is purely the creative manipulation of the sounds of earthly existence, void of context or traditional musical structure. As humans, it is our nature to want to assign a reality-based narrative to sounds we cannot see the source of, but Wanda Group denies us this through the complete deconstruction and rearrangement of everyday sounds, creating a totality of abstraction which nullifies context altogether.
The release of Dälek's third album, Absence, saw the New Jersey hip hop group sharing stages with such well-known artists as Kid606, Isis, Jesu, and many others, and winning over the public with their performances. Absence exposes the limits of all pre-established ideas about musical genre and removes all stylistic hostilities. Its dark, industrial world of metallic, distorted instrumentation reflects its committed, revelatory lyrics. Includes CD containing two previously unreleased bonus tracks.
Includes five double-sided 11" inserts featuring original paintings unique for each track. Jayson Jenkins, better known as Mick Jenkins (his stage name), is an American hip-hop recording artist born in Huntsville, Alabama. He was then raised on the south side of Chicago, Illinois. Jenkins is a member of Free Nation, a hip-hop group that promotes creative thought without accepting narrow views imposed by the powers that be. In the spring of 2013 Mick released a mixtape entitled Trees and Truths that quickly became a local favorite, buoyed by acid jazz-influenced production, biblical allegory and lacerating lyricism. The project was by far his most lyrical body of work and caught the attention of Chicago's incipient gatekeepers. A few months after its release, a collaboration with Chance The Rapper and Vic Mensa came in the form of a single entitled "Crossroads," which was a summer hit. In August 2014, Jenkins released The Water[s], a project spearheaded by the release of "Martyrs," a record that juxtaposes harsh truths about society with thought-provoking single with various underlying messages and subtle notions. Centered around the idea of comparing water to life's truths, The Water[s] has garnered national attention and served as Jenkins' breakout project while receiving critical acclaim. In November of 2014 Jenkins toured on The Smoker's Club Worldwide Rollers tour with Method Man, Redman, B-Real, and Berner. In February 2015, he headlined his first national tour with Pro Era's Kirk Knight. Jenkins later joined Joey Bada$$ for Phase 1 of his World Domination Tour in June 2015. After wrapping up the summer tour, Jenkins focused his attention to the new EP Wave[s]. Here, Mick continues to keep the collaborators confined to those within his inner circle. The project features the likes of Sean Deaux, Saba, and TheMind.
Following a year that saw the 50th entry in the long-running series released to wide acclaim, DJ-Kicks returns in 2016 another landmark edition. Iconic Detroit DJ and producer Moodymann is at the helm for his first ever multi-artist DJ mix compilation. Born Kenny Dixon Jr., Moodymann is a one-of-a-kind electronic music icon, hailing from, and wholly synonymous with the Motor City. He is an outspoken, impossibly charismatic artist who has been putting a distinctive and soulful stamp on house and techno since the early 90s. Melting together jazz, funk, soul, blues and rock in captivating ways, he is responsible for some of electronic music’s most definitive tracks, EPs and LPs on labels like Planet E, Peacefrog and his own KDJ and Mahogani Music imprints. As able to serve up the sweetest and most sensual sounds as he is the darkest and most depraved grooves, his own unique voice and stream of conscious musings infuse expertly sought-out samples for music that is decisively alive and authentic. Across 75 minutes and 30 tracks, Moodymann does not disappoint: despite being a notorious vinyl fetishist, Dixon’s aim is to present music of quality, not to one-up fellow collectors. Rather than serving up ridiculously rare or hard-to-find records, he instead focuses on creating a libidinous, blues-drenched mood that takes in heart-breaking soul, gorgeous hip-hop and love-fuelled house. In addition to cuts from his own creative circle, the mix features 11 exclusive Moodymann edits. Like everything Kenny Dixon Jr. touches, DJ-Kicks showcases the taste, skill, and soul of a dance music original.
‘T r i s h’ will be pressed on a clear vinyl 12″ with blue and orange splatter. Features guest appearances from Bre'r and Liz Harris (Grouper), Having cut his teeth producing warped and bombastic beats as a member of cLOUDDEAD, David P. Madson aka Odd Nosdam has since gone on to record and release some of the most revered work in the post-millennial abstract hip-hop world. Through his solo productions, various collaborations, and remixes for the likes of Boards of Canada, the Anticon Records cofounder has traced an indelible strain of super-saturated, no-fi weirdness located at the intersection of British IDM, West Coast hip-hop, and ethereal drone. Trish first saw the light of day in late 2013 as a cassette-only release on the Chicago-based Baro label, now long sold-out; a digital release followed on Odd Nosdam's own Burnco label. Trish is a subtle homage to the late Broadcast singer Trish Keenan (1968- 2011) created from the haunted remains of a failed follow-up to Odd Nosdam's 2007 Level Live Wires album. This long-overdue vinyl reissue marks the 2016 fifth anniversary of Keenan's tragic death from pneumonia in January 2011. Across the work's six tracks, Odd Nosdam harnesses the aural mystery of a sample-based approach with an emphasis on cassette manipulation and distortion. Overall, Trish lingers and drifts through a shimmering fog of high-register sonics with introspectively tonal movements. While Odd Nosdam's sound may intersect with Broadcast's at times, his approach on Trish is distinctly his own -- a unique blend of emotive ambiguity and lush, wandering vacancy. Featuring guest appearances from Bre'r and Liz Harris (Grouper), Trish is as dense as it is reflective.
Marking this as his debut on Tri Angle, DAZE is actually the third in a series of wildly ambitious and confounding albums Brood Ma has put his name to in the last few years, generating a good deal of intrigue and acclaim along the way. His first release ‘FISSION’ turned heads with its juddering, noisy take on EBM, while the follow up, ‘Populous’ (reissued in 2014 by pioneering dubstep label Hemlock), signaled for many the arrival of a genuinely unique and intriguing talent, bolstered also by his affiliations with the endlessly fascinating and undeniably forward thinking Quantum Natives collective. Which brings us to DAZE. By stripping back on some of the beat-suffocating distortion that defined some of his earlier work and by zeroing in on some of the more disorienting side effects of immersing oneself in trance and hardcore styles, Brood Ma has made his most radically club-oriented release to date. DAZE is a direct byproduct of Brood Ma’s ongoing interest in dissecting how (and why) we build virtual worlds and an obsession with the high-definition sound design techniques most often used in trailers for Hollywood blockbusters and video games. These are the sounds of death and destruction, stripped of their grisly truths and molded into plastic or mechanical shapes. DAZE is a dizzying and exhilarating soundtrack to dystopia and a violent virtual world that is becoming increasingly harder to separate from our own realities.
There are three different album covers, one for each member in the band - Avey Tare, Geologist, and Panda Bear. The album covers are randomized at the manufacturer so we will get a unique allocation of each cover. Each copy will include a sticker sheet with the album title printed in a variety of languages, so you can sticker the album with the language(s) you prefer.For fifteen years Animal Collective has been rewriting the musical map, their line-up and aesthetic shifting with each astonishing release as they continue their pursuit of a new psychedelia. Their wild path has taken them from cramped concrete basement shows and forest floor singalongs to immersive installations at the Guggenheim and performances to millions on national television. So where to from here? Dizzyingly upbeat and gloriously realized, the new album bounces and pops with an urgent, ecstatic energy, propelled by polyrhythmic beats and gurgling modular synth, with Noah Lennox and Dave Portner’s vocals gleefully falling in and out of syncopation and off-kilter harmony. Working as a trio, Portner (Avey Tare), Lennox (Panda Bear) and Brian Weitz (Geologist) began trading demos in early 2015, pursuing a goal of what Portner calls “really short songs: no B.S, get in, get out material…” The three met in Asheville during that spring and began exploring the songs together. Recording took place in the legendary EastWest Studios in Hollywood, home to sessions by The Beach Boys and Marvin Gaye. The album features contributions from John Cale and Colin Stetson, and was engineered by Sonny DiPerri. The result: Painting With. Warm and personal, kaleidoscopic and high definition, concerned with art (Cubism, Dadaism, and the distorted way those artists viewed the world) and the human experience, and the meeting of both - creating something elemental, joyous, and unmistakably Animal Collective.
THE WASH is a good-natured romp that showcases not only the musical talents of lauded West Coast rappers Dr. Dre and Snoop Dogg, but the pair's unexpected acting abilities as well. Centered around the action at a car wash, the film boasts a soundtrack that unsurprisingly features some of the best hip-hop you're likely to find in our outside the vicinity of the silver screen. Naturally, there are tracks from Dre and Snoop, including the pumping mission statement "On the Blvd., " but other high-end rappers such as Xzibit and Busta Rhymes are on hand as well, making this soundtrack a wealth of hip-hop riches. To keep things from getting too monochromatic, neo-soul crooner Bilal offers a tune as well; his "Bring 2" is a churning, funky number full of melodic twists and turns, effectively balancing off the work of his rapping peers.
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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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