Released on Danger Mouse's recently launched 30th Century Records - enigmatic Los Angeles-based trio Autolux present the new album Pussy's Dead - a strange, yet beautiful new record brimming with ideas and sonic textures. A hybrid of pop, art rock, electronica and more, produced by Boots (Beyonce, RTJ, FKA Twigs). The group whose debut, Future Perfect, was released to critical acclaim in 2004, has continued to captivate fans anxious for the evolution of their unique sonic aesthetic. Autolux's sophomore album, Transit Transit, was issued to further fanfare in 2010. Pussy's Dead serves as Autolux's third studio effort.
Hurt & The Merciless marks a musical culmination for The Heavy, a mesmerizing blend of their trademark rock’n’roll classicism and funk and soul grooves, with added sonic experimentation. Self-produced, the band's main aim when recording was to capture the powerful energy of their live show—that life-affirming spark of rock’n’roll when anything feels possible. The 12 track album features lead single "Since You Been Gone," with its lolloping groove, plus the spiky garage-rock anthem "What Happened To The Love?" and is their strongest batch of songs to date.
The Wilderness is Explosions In The Sky's sixth album, and first non-soundtrack release since 2011's Take Care, Take Care, Take Care. True to its title, The Wilderness explores the infinite unknown, utilizing several of the band' s own definitions of "space" (outer space, mental space, physical geography of space) as compositional tools. The band uses their gift for dynamics and texture in new and unique ways - rather than intuitively fill those empty spaces, they shine a light into them to illuminate all the colors of the dark. From the electronic textures of the opening track to the ambient dissolve of closer "Landing Cliffs, " The Wilderness is an aggressively modern and forward-thinking work - one that wouldn't seem the slightest bit out of place on a shelf between original pressings of Meddle and Obscured By Clouds. It is an album where shoegaze, electronic experimentation, punk damaged dub, noise, and ambient folk somehow coexist without a hint of contrivance - and cohere into some of the most memorable and listenable moments of the band's expansive body of work - "proper" studio albums and major motion picture soundtracks alike. The progressive ambience of early Peter Gabriel, the triumphant romanticism of The Cure in their prime, and the more melancholy moments of Fleetwood Mac all inform the curious beauty of The Wilderness . The uncanny ability to reconcile the tension between discordant, nightmarish cacophony and laid-back, Laurel Canyon-inspired folk-rock is a cornerstone of this album, and the center of Explosions In The Sky's remarkable evolution. If The Earth Is Not A Cold Dead Place was the defining album of Explosions In The Sky's career, The Wilderness is the band's [re]defining album.
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Opening with a skating sheet of synthesizer before easing into a steady, walloping beat, Silicon Tare moves Haley and the fictional Com Truise even deeper into the cosmos, discovering new lands along the way and offering a glimpse of where he may travel in the future. And if the characters at the center of his ongoing story may be in peril, Haley himself is in control. Tare also sets the stage for the final chapter in Seth Haley's Com Truise saga, which will be the first official follow-up to Galactic Melt. It's not only the perfect prelude to that finale, but the perfect representation of Haley's ever-expanding universe of sound.
The rock canon has many anti-heroes, Black Mountain being the latest. In the past, Can's Tago Mago established that the only rule in rock and roll is that there are no rules. Pink Floyd's prodigious output in the 70s showed us that architecture can be cool, while delinquent proto-metallers Black Sabbath demonstrated that you can make a lot from not that much. Now Black Mountain teach us that you don't have to be afraid of the past to move bravely into the future, defining what it is to be a classic rock band in the new millennium. Today, they announce IV, an unapologetically ambitious record made by a group of musicians who are at the peak of their powers.
Six new Serengeti tracks produced by DJ Crucial on the SP 1200. Pressed on a limited run of 300 by F5 Records. 10" splatter vinyl in clear jacket.
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The Double Cassette includes the brand new Count Bass D album on one tape plus a bonus cassette of the instrumentals. The “Rapper with the Most Chords” releases his first vocal album since 2011's Mic & Ike. Count Bass D's latest album, Instantly New is just that - a fresh approach to the sound he's been crafting for the past two decades - paired with a distinct presentation. Embracing his gospel roots, Instantly New showcases the producer-songwriter's ability to meld R&B, soul, funk and rap to craft hiphop hymns.
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#N/A (literally, Nisennenmondai with Adrian Sherwood) is a new studio album which sees the cult Japanese trio filtering their epic motorik jams through the mixing desk of the legendary dub producer.From their initial beginnings as a noisy no wave band openly referencing influences such as Sonic Youth, DNA and This Heat, they have since honed and streamlined their sound into a more minimalistic pulse with an emphasis on the hypnotic possibilities of repetition, creating a sound that can be likened to ‘organic techno’. Described by Allmusic's Heather Phares as "taking as much inspiration from the cool kids at school as they do from experimentalists like This Heat, The Pop Group, Sonic Youth, DNA and Neu!, Nisennenmondai compose raw and repetitive (post) punk instrumentals, which can be groove-oriented whilst also having a no wave/disco vibe. Himeno tirelessly pounds at her snare and bass drum while slashing her cymbals, while Takada adds layers of delay and clangy sounding distortion.”
Brute [bro͞ot] noun: brute; plural noun: brutes - a savagely violent person or animal.origin: late Middle English (as an adjective): from Old French brut(e), from Latin brutus 'dull, stupid.' "You are no longer peacefully assembling," announces the voice of an officer on a Long Range Acoustic Device (LRAD), a sonic weapon employed by riot police, capable of deafening a target by exceeding humane levels. Both a corporeal and symbolic tool of violence, the LRAD violates the physiological space between state control and the body using amplified sound. Fatima Al Qadiri returns to Hyperdub for her 2nd album Brute. Made from the perspective of her transnational experience, her new record explores the theme of authority, the relationship between police, citizens and protest worldwide, particularly of her adopted home in the United States. Musically, Brute teeters between rage and despair, manifesting in restrained percussion, sampled and processed recordings of urban protest, and the signature minor progressions that distinguish Al Qadiri's body of work. Reflecting on the carceral state (Oubliette), the militarization of police (Endzone, Curfew), the fragile boundaries between defence and the deadly use of force (Battery, 10-34), and the relentless violation of the dignity of protesters and activists (Breach, Blows, Fragmentation), the record is a sombre tribute to lost life and agency. The album art is a detail of the sculpture Po-Po (2015) by Josh Kline, heavily altered by art director Babak Radboy. Reimagining a popular children's show character as a militarized SWAT officer with implanted surveillance technology, Radboy subjects Po-Po to extreme image processing, situating the installation photo as a still from a fictitious blockbuster. As a tribute to those on the front lines of protest and a condemnation of neoliberal fascism, Brute provides a chilling sonic backdrop to a world of normalised brutality, a painful illumination of the facade of democracy.
Norvis Junior is an artist of multiple disciplines born and raised in Dallas, currently living in Las Vegas. He's doing his best to get to know himself through the various things he makes. Over the last several years, he’s released 7 EPs digitally and been featured on multiple online publications including Brownswood, Pigeons and Planes and Wax Poetics. Here is his debut seven track vinyl EP "Pyrrhic Victory Disc 3" which is also the first release on the new label, New Math Records.
“We are the planters of the weeds or roses in our garden. Take the plunge within yourself to find The Main Ingredient.”So reads CL Smooth’s album dedication in the liners to Pete Rock & CL’s underrated, soulful and deeply grooving sophomore album. For fans, it was bittersweet, as it would be their last as a duo. By 1994, Pete and CL were darlings of both fans and critics, still on a high after 1992’s Mecca & The Soul Brother and the album’s emotional smash single “They Reminisce Over You (T.R.O.Y.).” Two years later, they had grown even more as men and artists. Gone was some of the righteous striving of their earlier work, replaced by mature – yet still righteous – wisdom. And a lot more love as well, bringing a larger female constituency into their fanbase. They were adults now, reveling in the plateau they had reached. The duo’s ‘90s swan song is a powerful double album that still resonates with Golden Era hip-hop fans: 16 cuts deep and full of intelligence, fire and warmth. Beats-per-minute-wise, the album mostly clocks at a comfortable strutting pace, bolstered by Pete Rock’s pioneering use of filtered basslines and a recently-hatched obsession with Rhodes piano. The new tracks filled speakers and headphones with soul, as CL continued to assert his lyrical prowess all throughout. The lead single, “I Got A Love,” is a perfect example of the group’s ‘94 steez: a super-catchy and respectful, but far-from-soft love track, suitable for any rap fan’s romantic needs. “Take You There” and “Carmel City” cover similar ground. Considering CL Smooth’s top-level brag rapper status, cuts like “I Get Physical,” “Get On The Mic” and “Check It Out” effectively reminded competitors not to test him. Pete also gets in the game on the mic several times on the album, acquitting himself nicely (and solo) on the cloudy day soul of “Escape,” alongside other cuts. Add more pensive lyrical forays like “All The Places,” “Searching,” and – perhaps the album’s sleeper cut – “It’s On You” and you have one of the more complete rap full-lengths of the mid-1990s. This isn’t surprising, considering the wonder twins-esque skills of Pete and CL. But it does make fans wonder what would have happened if they had stayed together longer.
Originally out in 2006, EP C/B EP was a double header from Battles that pulled together the previously released C and B EP's. Across the joint twenty one tracks the group cement themselves as one of the most audacious cult groups operating in the folds of alternative rock and electronica right now. The tracks on show spin webs of poly rhythms, complicated time signatures and abstraction that crosses electronic and guitar band lines with intense and captivating power and force! Experimental and astounding creating vast waves of increasingly exciting music that crosses boarders and genres with ease while creating something vast, expansive and utterly unique. Available now for the first time as a double 12" set, EP C/B EP stands as a timely reminder of the innovation and importance of Battles within the current musical climate.
After becoming a 3-piece, 'Gloss Drop' was Battles' follow up to 2007's incredible 'Mirrored' and did not disappoint. Drafting in the vocal help of Gary Numan, singers from the Boredoms and Blonde Redhead, and Bleep's Top Artist of 2009 - Matias Aguayo. The live instrumentation and experimental structures again prove why Battles are one of the most cherished bands on Warp's roster.
2016 repress includes Battles' stellar Warp debut on 2LP vinyl with gatefold packaging, download card and a poster insert. Few albums can match Battles' Warp debut for innovation coupled with accessibility. On Mirrored, Ian Williams, Dave Konopka and Tyondai Braxton found the subverted soul of glam, pushed it through the avant-machine (Reich, Riley), grew some overdriven metal guitar chops, listened to a whole lot of African music and consorted with the Aphex devil. It might sound like a mess written down, but the way the band pull these disparate influences together makes for some of the most continually thrilling music, even when considered several years down the line. 'Atlas' must be one of the strangest and catchiest instrumental pop songs ever made, and there are plenty of other thrills to be found here, like the playfully glinting vocal abstractions of 'Tonto' or the twists and turns of 'Rainbow'.
LP Reissues of Mirrored and Gloss Drop out April 1 2016 in original deluxe packaging with EP C/B EP out on vinyl for the first time. Battles' seminal first two albums Mirrored and Gloss Drop are being given a much needed vinyl reissue, and for the first time ever, a vinyl pressing of the EP C/B EP. The music across these releases spans from 2005 until 2011 and if there ever was a need to, reminds us of just how forward-thinking, yet accessible the group were when they first appeared. These releases have gone on to gain huge admiration from both alternative rock and electronica communities and you will be hard pressed to find an alternative music fan who doesn't recognize tracks like Atlas, Tonto or Ice Cream. Out of print for years and now highly collectible, these classic recordings are being made again for new audiences to enjoy while sure to take space on shelves of long time fans of old who missed them first time around.
Intent on creating something that contrasted their own individual projects, Moderat — the trio comprised of Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) — complete the trilogy with III. III pairs an emotional pull with sensual imagery, creating dynamic sound and depth with sophisticated lyrics and themes as they direct their gaze inward. Apparat gives unfiltered insight into his personal take on the journey we call life – he is opening up, discussing his shadow, his fears and doubts. Modeselektor reach another level, develop an intoxicating energy with their distinct rhythmical textures. One of the best parts of Moderat is their use of electronics to achieve orchestral diversity. With III, they update the songwriting tradition with an intriguing palette, born of careful attention and skill, informed by their experiences with sounds of nearly 25 years of sub-and-club culture. These three were initially brought together by Berlin’s now legendary rave scene and with this as their common foundation as individuals, III signifies Moderat’s maturation in modern pop and mastery of the group.
Amen & Goodbye is the fourth studio album from Brooklyn-based band Yeasayer, and it will be released worldwide via Mute Records. Yeasayer offer a peek into the world of Amen & Goodbye with “I Am Chemistry,” the first track to be heard from their highly- anticipated forthcoming album. Featuring guest vocals from the legendary folk singer Suzzy Roche of The Roches, “I Am Chemistry” is a linear psychedelic journey proving Yeasayer still has the knack for writing very odd pop songs. Amen & Goodbye is the follow up to 2012’s work Fragrant World. Moving away from a digital - heavy approach, Yeasayer recorded Amen & Goodbye to tape at Outlier Inn Studio in upstate New York, then brought on board Joey Waronker (drummer - Atoms For Peace / Beck) to deconstruct everything to make the final document. Amen & Goodbye features Yeasayer’s trademark sound without sounding like anything the band has done before. They have created a collection of strange fables from the Bible from a universe that does not yet exist.
Bibio will release his seventh album, A Mineral Love, on April 1st through Warp Records. According to the artist: "This album celebrates the sacred and precious struggles of human insecurities through many windows of familiar musical forms. It's also a celebration of my love of the craft of record making, drawing influences from many sources across all decades from the late sixties to the present. All these referential forms have a twist, some are more full on cocktails."
Deluxe CD is a one time pressing featuring a hardbook pack; 40 page booklet containing exclusive photographs.The Last Shadow Puppets return with their new album Everything You’ve Come To Expect. The album finds Alex Turner (Arctic Monkeys) and Miles Kane reunited with James Ford (production and drums), Owen Pallett (string arrangements) and Zachary Dawes (Mini Mansions) on bass, recording the follow up to 2008’s The Age Of The Understatement at Shangri-La Studio in Malibu. Suffice it to say that other obligations came between The Age of Understatement and its sophomore successor, not least the unstoppable rise of Turner’s Arctic Monkeys, who released not one but three hugely successful albums between 2008 and 2013. Neither Kane nor Turner ever intended to put the Puppets on the back burner where so many “side projects” languish in perpepuity: the creative outlet that the act offered to the two friends was far too important for that. Just as The Age of Understatement enabled the duo to explore an all-but-forgotten world of epic ‘60s pop that contrasted starkly with the indie guitar-rock template of the Monkeys and the Rascals, so the second coming of the Shadow Puppets has given Kane and Turner new avenues that veer radically away from their other work. Everything You’ve Come To Expect is a more open and expansive work than its predecessor, wearing its influences less obviously on its sleeve – by turns the album is soaring, snarling and breathlessly seductive.
Mavis Staples has been a soul and gospel music legend for more than 50 years. Her work fronting the legendary Staples Singers defined the sound of politically-committed soul and influenced generations of musicians. As a solo artist in her own right she has helped to define much of what is righteous and soulful in American music. With Livin’ On A High Note, Mavis Staples has delivered the most joyful and uplifting record of her career. 12 original songs written exclusively for Mavis by some of the finest songwriters of our time including M. Ward, Ben Harper, Valerie June, Neko Case, tune-yards, Nick Cave, John Baptiste, Justin Vernon, Aloe Blacc, and more. At age 76, Mavis Staples shows no signs of slowing down and 2016 is slated to be one of her best years yet. On February 20th, HBO will debut Mavis! – the first feature length documentary on the gospel/soul music legend and civil rights icon.
The Last Shadow Puppets return with their new album Everything You’ve Come To Expect. The album finds Alex Turner (Arctic Monkeys) and Miles Kane reunited with James Ford (production and drums), Owen Pallett (string arrangements) and Zachary Dawes (Mini Mansions) on bass, recording the follow up to 2008’s The Age Of The Understatement at Shangri-La Studio in Malibu. Suffice it to say that other obligations came between The Age of Understatement and its sophomore successor, not least the unstoppable rise of Turner’s Arctic Monkeys, who released not one but three hugely successful albums between 2008 and 2013. Neither Kane nor Turner ever intended to put the Puppets on the back burner where so many “side projects” languish in perpepuity: the creative outlet that the act offered to the two friends was far too important for that. Just as The Age of Understatement enabled the duo to explore an all-but-forgotten world of epic ‘60s pop that contrasted starkly with the indie guitar-rock template of the Monkeys and the Rascals, so the second coming of the Shadow Puppets has given Kane and Turner new avenues that veer radically away from their other work. Everything You’ve Come To Expect is a more open and expansive work than its predecessor, wearing its influences less obviously on its sleeve – by turns the album is soaring, snarling and breathlessly seductive.
Republic Records will release "Amy", the Original Soundtrack. The album features music from the universally acclaimed film, directed by BAFTA winning director Asif Kapadia, and now officially the highest grossing British documentary of all time at the UK box office. Indeed "Amy", in the few months since its release, is a true global box office phenomenon and, officially the second highest grossing documentary of all time globally behind Fahrenheit 9/11.
Brothers Ruban and Kody Nielson have been playing, recording and collaborating on music for decades. From the influences of their jazz musician father and dancer mother, Ruban and Kody have gone on to play in New Zealand's The Mint Chicks, and at its end in 2010, moved on to separate projects. Ruban formed Unknown Mortal Orchestra out of Portland, while Kody collaborated with various artists and musicians before his own solo project, SILICON, took shape. At the end of 2015, as UMO's Multi-Love and SILICON's Personal Computer made the rounds, garnering critical acclaim, Ruban and Kody (who played keyboards and drums on UMO's Multi-Love) took some time to rework tracks from each of their records. The theme of phones led to Kody working on UMO's "Can't Keep Checking My Phone," changing it from a bouncy, sprite disco track to a sparser song filled with space, treated vocals and isolated drum breaks. Ruban's rework of SILICON's "Cellphone" is turned moody and dark, with a skittering beat and additional vocals.
Jamil Rashad, a/k/a Boulevards, is the embodiment of funk. Taking queues from pioneers such as Prince, Rick James, and Earth Wind & Fire, Boulevards seamlessly delivers cheeky, party-themed jams that range from raw and risque to soulful on his debut LP Groove! Boulevards evokes a spirit from a time that combined intricate production with a focus on rhythm and getting people back on the dance floor. With Groove!, Boulevards does just that. On tracks like "Patience," Rashad melds pop with vintage hip-hop elements -- think Eddie Murphy meets The Sugarhill Gang -- and it just works. "Cold Call" introduces a slow hypnotic groove before a symphony of synths, creating a rhythmic cadence that stays with you even after the party is over. However, to give Groove! merit solely based on nostalgia would be a mistake. Groove! is not just a rework of a classic sound - it is an intelligent collection, an evolution to reign in a new era of funk - heard via the disco pulses on tracks like "Weekend Love" and "Up On Your Love," nodding to industry giants like Pharrell and Breakbot.
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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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