p>The Pendletons is a long-standing boogie-funk and modern soul project of E da Boss and Trailer Limon. The group emerged with their very first release in 2010, a 7" inch of "Coming Down/Waiting On You" with additional synth work by E.Live, on the Slept On record label, which set the tone for the group to emerge... it instantly became a cult classic receiving constant play at nights like Sweater Funk and Funkmosphere, and fetching for serious sums among collectors. In 2013, they followed up with another 7" featuring K-Maxx, Jacqueline Mari and Songbird Remos and later a very limited flexi-disc release title "Winning Ova You". Now in 2016, they return to the fold in full form with burgeoning live performances backed by a large group of vocal and instrumental guests, and their new release, the "Gotta Get Out" EP, on Voltaire Records. The "Gotta Get Out" EP highlights the hardships of life and love in modern society, via the smooth and bass heavy grooves of the Pendletons production squad. The struggle is real out there, especially for artists trying to survive and follow their passions, and "Gotta Get Out" eschews those sentiments completely with a full cast of guest vocalists including Jimetta Rose and I-Ced. "Learning How To Love You" is an ode to the inter-dynamics of a relationship, and having to think through and adjust behavior to suit the needs of your partner. "Never Know" starts out the B-Side...a harrowing tale of how life choices, twists and pitfalls can radically change those around you, even the most gifted and guarded of people. The most beat-scene of the bunch, "Purple Moon" inter-splices COPS-esque dialogue with slamming 808 bass and cruising synth lines making for a certified hypnotic head-nodder. The digital and cassette release of the "Gotta Get Out" EP features added bonus tracks with guests Felili, K-Maxx and additional remixes by Mat/matix and RELISH (aka Hotthobo).
George Evelyn was born and raised in inner city Leeds - a far cry from the Ibizan farmhouse where he currently resides. Heavily influenced by everything from Jazz and soul to dub and reggae, he first came to widespread attention in the late '80s / early '90s with bleep anthems 'Aftermath' and 'Dextrous'. It was the tripped out, hip-hop deconstructing Smokers Delight album - released in 1995 - that truly cemented his reputation though. This was followed up by the equally compelling Carboot Soul album released in 1999. Meanwhile, his most recent full-length Feelin' Good, released in 2013, is an album of sun-soaked jams that oozes summery euphoria. This year has seen N.O.W undertake a heavy world DJ tour and hes just played out at the seventh and most successful Ibiza Wax Da Jam residency. Aside from travelling the world, George Evelyn has become increasingly inspired by a newer breed of artist including Soulection, Kaytranada, Loyle Carner as well as peers such as Moodyman, Andres and Karizma. This new found inspiration has led George to venture back into the studio and get back to the very foundations of Nightmares on Wax, creating the sounds that have made him an influential figure across the production community. This new EP is back to back dance floor jams, though somewhat a departure from his recent work. With this EP and more work back in the studio we're looking towards and exciting year for N.O.W and fans!
The first glimpse of Nickodemus' forthcoming album in Spring 2017 is a new collaboration with singer & songwriter Alsarah (Alsarah and the Nubatones). "The Crow" moves deep into 122 BPM stacking synth house that lyrically tells a story of ones identity in the metaphor of a Crow's who looses his/ her feathers & tries to replace them with others. Saagan (the new project by super house producer Andreas Saag) turned in a beautiful melodic remix that turns deep Detroit with the sounds ofCrows & Arabic strings. "Alkoan Kulu Bidoor" is a cover song featuring the lyrics of AbdelRahim Mansoor. The 1st known version of the song gained much success inthe 80's in & around Egypt. The new version takes the song to the new millenium with a classic Nickodemus hip hop meets dub beat & live Oud by the Spy from Cairo. iZEM (Soundway Records) delivers a heavy hitting footwork version bound to rock any global bass party Worldwide.
Southampton-raised, 22 year old London-based singer, songwriter and producer Laurel Arnell-Cullens first release on Counter Records. The release follows a string of well-received singles, and lead single Hurricane has already garnered early tastemaker support from The Guardian, Clash, The New York Times, The Line Of Best Fit, and more. With a debut album scheduled for early 2017, the Park EP further enhances Laurels position as a phenomenal new talent, mixing raw organic production with striking yet touching songwriting and powerfully enchanting vocals.
The labels Vinyl Digital & WSP (Wortsport) are proud to present the German Hip Hop live band of the year - Tribes of Jizu! After touring through Germany with the Loop Sessions & also by playing at the biggest Hip Hop Festival, the Splash, it was just about time to release their music on Vinyl. Features come from Juju Rogers & Teknical Development (Man of Booom), Dexter & Brenk (Betty Ford Boys), Maniac and many more...
Debut EP from producer Farhot as his Fuchy character. Farhot produced for top german artists as well as internationally known Mcs and singers like Talib Kweli, Isaiah Rashad, Nneka, Meyhem Lauren, Selah Sue and various others. A refugee. An orphan. A street urchin. A 11 year old bearded, sticky fingered now-where-did-your-cellie-go?! type miscreant. The prodigal son of the Afghani Big Lebowski. The street corner shit talker. The Bart Simpson of Kabul. The brother who claims he knows your moms and your girl, intimately. A hustler. Young Fuchy. The kid who used to sell poppy heads by the kilo. One of many, but one of a kind. A beat maker. A maverick. A musical hypnotist. A kid on a mission to avenge Kenny for every single one of his deaths. The youngin' with a truly odd future. A fucking menace with a golden heart. Flashback. There is a war raging in Kabul. After a bomb strike, Fuchy stands in front of what used to be his home: all that is left is debris and paralyzing pain. He looks around. He is left with nothing but his queer mind and his superpower: music. Equipped like this, he embarks on a journey to the distant, foreign and uncertain world of the West. This is the narrative context for the adventures of the odd midget fighter Fuchy. The story of a refugee from Afghanistan, who tries to explore his new environment on his own terms. Fuchy is drawn, animated, made up. He’s like the oriental hiphop version of Bart Simpson. But at the same time, he couldn’t be more real – because he’s full of contradictions. Fuchy, is not only the protagonist of “420”, he’s also the alter ego of Farhad “Farhot” Samadzada, a Hamburg-based music producer. Farhot, who was born in Kabul, Afghanistan, 34 years ago, has not only worked with top German artists like Max Herre, Haftbefehl, Samy Deluxe, Karate Andi and Xatar. He has also successfully worked for internationally renowned artists such as soul-singer Nneka from Nigeria, multi-platinumselling Belgian artist Selah Sue and UK grime queen Ms Dynamite or the US hip-hop stars Talib Kweli and Isaiah Rashad. Recently, Farhot founded his own label Kabul Fire.
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.
After spending the past three years cutting acclaimed records for such esteemed imprints as Innervisions, Hotflush, and Acid Test, Recondite has rejoined the Ghostly International fold with an EP that builds on the robust field recordings and pale, moonlit melodies of the Berlin producer's breakthrough LP Hinterland. Named after the foreboding family of birds that includes ravens and crows, Corvus is a chilling listen inspired by everything from The Revenant's Ryuichi Sakamoto soundtrack to Max Frisch's heady novel Homo Faber. After all - the Rottal-Inn native insists there's a light at the end of this particular tunnel. Or as he puts it, "Melancholic doesn't necessarily mean dark. Music can be happy and moody."
Okzharp and Manthe Ribane return with their second EP ‘Tell Your Vision’, a call and response between Manthe’s vocals and Okzharp’s production. Both bring their unique energies to the mix, manifesting in a raw confidence of new moods and temperatures that were brought out from their first taste of touring and living on autopilot. The EP’s title is a reference to its opener, ‘Teleported’, which was created in Okzharp’s car on an exploratory drive through London and inspired by the art and energy they came across. The track opens with a ferocious bass line, with Manthe’s rumbling vocals rolling rhythmically over the top. She takes us with her as she lets the music possess her as if dancing; quickly spitting the vocals back out, urging the listener to “Tell your vision!”. A much more gentle and reflective turn comes on second track ‘B U’. Okzharp’s slow and soft lullaby melody and Manthe’s warm and inspiring lyrics tug at the heartstrings. In the upbeat and playful ‘Maybe This’, Manthe’s vocals flit between a hum that softly swells over the top of Okzharp’s spacey melody, into an energised and bouncing rap. The EP rounds off with the warm anthem ‘PikiPiki’, with the chorus sung in the South African Sepedi dialect. Okzharp’s long synth lines draw us in with Manthe’s vocals melting and blending into the track. ‘PikiPiki’ has an unmistakably positive vibe, which becomes emphasised when Manthe switches to English, with lyrics that advocate self-affirmation and self-love.
Deep in the city of Porto Portugal, lives the unique,deep groove floating dialogue of a modern funk artist known as SAIR. His debut self-titled album displays his natural ability to let the groove unfold in his arrangements. In a landscape of rising G Funk arrangements, SAIR's peeks through the horizon with an EP woven together with as many natural drum arrangements as there are programmed drum arrangements, giving listeners a diversity we haven't heard much of since post disco's golden era of 1980-83. SAIR's songwriting ability moves the conversation forward with intricate drum arrangements framing beautiful chords and passionate synths, that give SAIR a voice that will move many in the worldwide community of modern funk and beyond.
Superstructure has been blessing the world for 15+ years with underground cassette tape's and limited 7 inch records that have most likely been in your favorite producers collection since day one. Superstructure now unearths SUPERPOSITION, a six song EP guiding us through a secret valley of gems displaying his multifaceted songwriting ability, proving there is so much more to be seen in the landscape of modernfunk. Sonically baptizing listeners with sophisticated and intricate synthesizer arrangements before for carrying them on the backs of warm bass-lines through a journey of drums, where no detail is to be spared. The mechanics of SUPERSTRUCTURE immerses listeners in heady chords before ascension into dimensions previously unseen, giving listeners a perspective not to be scene but heard that transforms consciousness into its SUPERPOSITION.
After a series of great releases in 2015 Red Apples 45 is proud to release another piece to the catalogue, This time bringing it all the way back home to the Bronx with one half of The Ghetto Dwellas & DITC affiliate D-Flow. Pairing the MC with the Red Apples 45 own, producer Ray West they bring you “Three Sides To Every Coin.” Not only a play on words but some insight into the fast pace hustle of NYC’s paper chase. There are many reasons one would strive to get ahead in this town & in this Ep D-Flow breaks down 3 different reasons why one would strive. Hence “Three Sides to Every Coin” Released on 12 inch vinyl. Mixed By Dave Dar , Executive producer AG of DITC & Art work by the legendary Joe Buck the record Contains 3 full songs, 2 instrumentals & one 7 minute instrumental piece by Ray West titled Soliloquy.
Limited to 500. A 60 min Cassette Mix by Randy Hotthobo with a Two Step Boogie A Side and a Sweet Soul B Side. Artwork by Dyami O’Brien.
French producer Hugo LX returns with a new EP called “Ascent” out on Menace, 8 beautiful beats made with an incredible precision. Hugo LX has been working in past with Elzhi, Large Professor, Homeboy Sandman, Oddisse, Sadat X, The Funk League, he is also known as a really good house producer, he proved that again with his recent releases on Faces Records, Jazzy Couscous or My Love is Underground. This release represent our first collaboration with the legendary Fatbeats. Words of the artist : This batch of music pieces is what happened during this hot, dark and rainy summer, when the phone didn’t ring anymore and nobody would take time to return my calls. It is dedicated to all my fellow musicians and beatsmiths who endured long invisibleness before finally enjoying some success. A thought for the late great Q, you were there, you keep on being here, One for my friends and brothers, we been through a lot. One for Ms. S.Q, thanks for the poetry. One for the Kojo-Chin’s, you became my family.
Long-awaited, heavily anticipated collaboration between Los Angeles based kindred spirits, Nite-Jewel and Dam-Funk. As proclaimed by Pitchfork, the joint-effort is "lightning in a bottle", garnering their coveted "Best New Track" for the lead-single "Let Me Be Me". The initial digital-only released charted an impressive peak position of #17 in the Electronic Music charts on Billboard. With Nite-Funk's debut EP, the two beloved artists bring the best out of one another in this very special release. Originally mastered by the icon music-engineer Francois Kevorkian with additional mixing and production by Grammy Award winner Cole MGN.
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Planet Mu are honoured to be invited to look back through RP Boo’s archives and present the cornerstones of his style, which would emerge from Chicago's Ghetto House in the late nineties and develop into the genre of Footwork.These six minimal, repetitious rhythm tracks weren't officially released at the time, with the exception of the original version of ’11-47-99’ (The Godzilla Track) which came out under DJ Slugo's name in 2001, but was actually written and produced by RP Boo. Others were white labels for Dance Mania, never fully released, but which are remembered locally as key tracks in the cementing of the genre at the end of the nineties.’Baby Come On’, often cited as the first ever Footwork track, was recorded back in 1997 – says RP Boo "I got the idea from a Radio DJ who was going nuts over the phrase, and I got busy on the R-70, which I had just started to use, to create the track – it got played out at the clubs and the DJ’s and dancers loved it!" The sample has since become a Footwork staple and almost every producer has made their own version of it.’Party Motion’, built around vocal samples looped into angular patterns and offbeats over a sharp drum machine, was first played at a gym room party in 1998 and got its name from another footwork original – Traxman.‘02-52-03’ is a remix of the classic ‘11-47-99’ (The Godzilla Track). It is so named because February = 02, 52 = The 52 Hundred Street RP lived on at the time and 03 is the date the remix was made, February 3rd 2003.‘Night & Day‘, made in 1999, further develops the footwork template with relentless toms and demented pitch shifted vocals. It is the most notable of RP’s many songs that sample Larry Levan favourite, Class Action’s ‘Weekend‘. Since then, snippets of that song have sneaked into many of RP’s production as something of a camouflaged signature.‘Try To Break (Original)‘. From 1997, this is another track that made use of a chipmunked sample from ‘Weekend’ combined with harmonies and looped into a rushing phrase. Originally this was broken in Club Cavallini's, Chicago where it was a very popular club track.‘Try To Break (Remix)‘. This is a 1998 remix that was put on the legendary Chicago mixtape that RP Boo and DJ Rashad made called ‘No-Edits-Allowed‘ in 1999.
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Monster Collab of Detroit representive Guilty Simpson & Westcost Cali Agent Rasco.
Following his most recent LP, A Mineral Love, Bibio brings fans a new collection of songs, featuring vocals from Olivier St Louis. Available on a limited run of clear vinyl this The Serious EP is a collection of four chilled out, soulful tracks sure to delight!
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Features: MoonDoctor, OPN, Taso, DJ Manny, DJ Taye, and Suzi Analogue. Cover art by Shepard Fairey and Ashes57. DJ Earl lays down expertly crafted footwork rhythms filled with wave-y synths and killer vocal hooks. Every track on Open Your Eyes is a collaboration, DJ Earl teams up with other Teklife members from his native Chicago and beyond. A leading figure in the footwork movement, and long-time collaborator with DJ Rashad, DJ Earl is a key member of the Teklife family. Open Your Eyes is a brutally strong EP filled with future classics.
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Pional’s latest EP, and his first for Counter Records, marks something of a breakthrough for the young Spanish producer. After a productive few years, which have seen him tour with frequent production collaborator John Talabot, which won a slot in Resident Advisor’s coveted Best 20 Live Acts. He also toured with musical like-minds The XX & released an EP with Young Turks. When Love Hurts arrives as not only his most personal work to date, but his best. Inspired by love and loss, this four track collection is the result of Pional finding the confidence to add pop melodies and his own vocals to his deep, compulsive electronics. The result brings to mind New Order reimagined by Zomby, or some of Metronomy’s finest moments. ‘Casualty,’ ‘Of My Mind’ and ‘As Time Was Passing By,’ all vocalled by the young Madrid musician, play out as the anatomy of a breakup. When ‘The Way You Like’ closes out the collection, Empress Of’s featuring vocal provides a startling epilogue to this brilliant EP.
Surprise beat tape from Damu the Fudgemunk, Untitled Volume 2, a 12” picture disc. This marks the second installment in Damu’s Untitled series following the release of Volume 1 in July. In a nutshell, Untitled Volume 2 is a collection of music Damu assembled specifically for his longtime fans. All of the music / versions showcased on Untitled Volume has never been officially released, yet some of it may have been exposed over the years from various live videos, through word of mouth and a couple leaked mp3’s. The project was curated by Damu with the intention of packaging some of his most personally dear and sought after work on one title. If you have been following the Fudgemunk and Redef for the last decade, then the assembled music should immediately remind you of the journey. Also available on Cassette as Untitled Vol 1 & 2 with a bonus track.
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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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