London's Babyfather (Dean Blunt featuring Arca and Mica Levi) are back with the debut full length follow up to the street classic 'Meditation'. "BBF" Hosted By DJ Escrow. "Without a doubt, I guarantee that it will be in rotation at every club, at every party and coming out the speakers of every car ...this makes me proud to be British " -Idris Elba
THE TWO CLASSIC BURIAL ALBUMS ARE BEING RE-PRESSED ON 180G DOUBLE VINYL AND, FOR THE FIRST TIME, UPDATED TO INCLUDE THE BEATLESS ATMOSPHERIC TRACKS THAT UP UNTIL NOW HAVE ONLY BEEN AVAILABLE ON THE CD VERSIONS. THESE NEW PRESSINGS ALSO COME WITH UNIQUE CODES FOR FREE DOWNLOAD. PLEASE NOTE - THESE ARE NOT RE-ISSUES, THERE’S NO NEW MUSIC, NOTHING REMASTERED - JUST REVISED, IMPROVED AND BACK IN PRINT. SORRY IT TOOK SO LONG.Certain to be one of the most memorable albums of the year and without a doubt its most groundbreaking - Burial's debut album has already been subject to extensive discussion and focus dotted around the entire musical spectrum, from the cavernous Dubstep community at one end to the expansive critical behemoth of Pitchfork and Simon Reynolds at the other. Cliché and hyperbole aside, it's true to say that only once in while we're presented with an album of such chilling sensation, tempered skill and emotional mastery that the listener is overwhelmingly submerged into the producer's wholly realised creation of a musical urban legend. Burial's sonic and geographic roots in an anonymous south London location are clearly apparent in the subterranean blues of opener 'Distant lights', affecting the synapses with MDMA singed pads floating over an impossibly slinky 2-step syncopation and luscious diva lick, summoning lost feelings for mid-late 90's rave dystopia. On the narrative tip Spaceape becomes the dark interpreter for the phantom dancehall machinations of 'Spaceape', whilst 'wounder's' offstep organ stabs part the way for the comforting paranoia of 'Night Bus'. 'Southern comfort' is one of two tracks lifted from the stunning 'south London boroughs' EP that first introduced Burial to us about a year ago, epitomising the dynamic impetus behind Burial's legend-creating narrative consistent throughout the album. 'Gutted' expresses a mournful sonic sentiment, before the emotional pinnacle of Broken Home's tumultuous bassline and disembodied capleton lick leaves you in a crippled mess. The haunted rhythmic bliss of 'Prayer' slips into catharsis, clearing the airwaves for Burial to allow the ghosts of long-gone transmissions, raves and soundsystem reverberations to be channelled through his expanded bandwidth for album closer 'Pirates'. Respect to Hyperdub, a shocking debut.
Featuring three new tracks and clocking in at over 30 minutes, the Kindred EP is an ambitious work that pushes further into the unique musical territory Burial occupies. Tracks include "Kindred," "Loner" and "Ashtray Wasp."
Burial's Rival Dealer is a Christmas story about love, confusion and sexuality, and the best thing he's made since Untrue. Burial might have started off sounding like nobody else, but since his breakthrough record, 2008's Untrue, he's not exactly taken risks. Sure, the tracks got longer and more soundtracky, he worked with Massive Attack, and Street Halo was a bit ravey, but generally Burial's spent his post-Untrue years feeding cat-nip to kittens and watching them start Christmas number one campaigns. Which is why it's so welcome that Rival Dealer not only sounds like a Christmas number one, but will surely be Burial's most divisive record to date. It's early days, but it might well go down as Burial's best - it's certainly his most impressive since Untrue.
Emerging from the half-light is the three-track Burial drop, landing down - where else - but Kode 9's Hyperdub imprint. Nearly four years of 'post-Burial' music has passed since the Londoner last gave us solo material, here he is back with a vengeance to remind us what we've been missing. The lead is swarming with that crackle and hiss, spectral far-off rhythms punctuating the gloom, whilst 'NYC' is a skulk through dank 2-step-caverns, the timestretch Burial vox always there. Finally 'Stolen Dog' is a beautiful exercise in handsome beat-minimalism.
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Burial follows up his masterful Kindred EP with the nearly 25-minute 12", Truant b/w Rough Sleeper, making his 2012 output clock in an early an hour. “Rough Sleeper” is much more soulful than the title track, and would actually feel right at home in Kindred‘s gooey center. On the other hand, “Truant” essentially pick up where Kindred‘s “Ashtray Wasp” left things off, piling on a nervous energy that manifests itself in an indecisive, vignette-like groove. It’s a brilliant patchwork-peek into one of the most interesting minds in music today.
THE TWO CLASSIC BURIAL ALBUMS ARE BEING RE-PRESSED ON 180G DOUBLE VINYL AND, FOR THE FIRST TIME, UPDATED TO INCLUDE THE BEATLESS ATMOSPHERIC TRACKS THAT UP UNTIL NOW HAVE ONLY BEEN AVAILABLE ON THE CD VERSIONS. THESE NEW PRESSINGS ALSO COME WITH UNIQUE CODES FOR FREE DOWNLOAD. PLEASE NOTE - THESE ARE NOT RE-ISSUES, THERE’S NO NEW MUSIC, NOTHING REMASTERED - JUST REVISED, IMPROVED AND BACK IN PRINT. SORRY IT TOOK SO LONG.Vinyl LP pressing of the 2007 sophomore release from the UK's mysterious and much-acclaimed Burial. Of all the artists past and present who claim to let their music do their talking for them, Untrue, is a record of weird Soul music, which lovingly processes spectral female voices into vaporized R&B and smudged two-step garage. Vocal lines are blurred, smeared, pitched up pitched down and pitch bent until their content is cast adrift from their original context and they whisper their saccharin sweet nothings into the void. Forget central heating -- the radioactivity of this album is all that you'll need to keep you warm this winter.
After three albums for as many labels, the relatively anonymous yet talented duo of Dean Blunt and Inga Copeland, also of the group Hype Williams, release their debut Hyperdub LP, Black Is Beautiful. The 15-song set, whose titles are all numeric with the exception being the opener "Venice Dreamway," is laced with their signature hazy glow and is full of crunched eurovision lullabies, kinetic drum machine jams, unsettling funk, smeared walls of synth, moments of unadulterated opiated bliss and mogadon rap. Mysterious, inspired and beautiful in equal measures.
The '6613' EP from DJ Rashad's vaults will be released just over a year after his untimely passing, with all the proceeds going to his family. Some of these songs will be familiar to anyone who saw Rashad DJ. The first are two really upbeat, rolling juke tracks; 'CCP2' has breezy worldless vocals chopped and diced over a rolling claps and kicks, and 'Cause I Know U Feel', with Gant-Man, chops a longing vocal refrain into a delirious frenzy of unexpected shapes, over pounding kicks and toms as a warm synth swells up. The vocals recede towards the end leaving just a synth glow. 'Ya Hot', with Taso, chops and changes rhythms, dipping into half speed trap, to rolling 4/4 and into more offbeat patterns, while a hectic, bleeping melody bangs out in contrast, almost as if its tracing the pattern of dancing feet. 'Do Not Fuck' is a paranoid 'footwork as a virtual panic attack' track, drawing fxs through a tunnel of accelerated bleeps, the only constant being a deadly serious guitar breakdown, a deep bass tone and the warning words of the title. The energy of DJ Rashad will remain strong through his music.
Chicago Footwork legend DJ Rashad rounds off an impressive year on Hyperdub with his first album for the label, building on two EPs which have shown the extent to which his and his numerous Teklife collaborators' sound have evolved in 2013. Named after the recreational cocktail of codeine and sprite, 'Double Cup' sees trad 808 footwork workouts thrown into collision with more recent mutations of the sound, presenting Rashad's most comprehensive showcase of the diversity and strength of the Chicago scene in 2013.
A four tracker of brash footwork, stretched to it's limits and rippling with colour. Starting with 'I Don't Give A Fuck', a vicious nihilistic vocal sample is looped over a banging bass drum and a startling bleeping melody, while drums pound and scissor in response.
A surprise for some, but also a perfect fit, Chicago Footwork don DJ Rashad releases his Hyperdub debut after long period of admiration and support from Hyperdub artists, in DJ sets and on the Hyperdub radio show on Rinse FM. These four tracks show DJ Rashad at his unpredictable best. The EP opens with the sorrowful R&B vocal cut up of 'Rollin'. It's half time drums and layered, pitch shifted vocals give way to double time 808 kicks and hi hat rushes, building up to tense arpeggiated tones. 'Let It Go' does something else entirely different; with a nod to past UK Jungle and hardcore but gradually mutating into footwork's present, it opens with a perfect recall of early jungle's mix of 160 amen breaks, euphoric diva wails and surging, ravey strings before the drums pull away, leaving a carpet of bass tones and firing 808's, the euphoria of the track kept moving over hectic drums and a frantic piano melody. 'Drums Please' featuring DJ Manny, adds a tough rush of rolling, martial snares to the morse code of clattering toms, sweet Detroit techno chords, and a siren-like tune that breaks out into the upper register, somewhere between melody and noise. 'Broken Hearted' is more familiar territory for Rashad, this time featuring long time partner DJ Spinn. Vocal lines and synths layered and chopped to gorgeous effect with half words left echoing and punctuating the stop start rhythm of the track. The launch party for the Rollin EP is on 8th March in Fabric Room One. DJ Rashad plays alongside Kode9, Ikonika, Scratcha DVA, Cooly G, Terror Danjah and Walton on the night.
DJ Spinn is one of the founders of Chicago's Teklife's crew, who alongside the late DJ Rashad is credited with bringing the culture of footwork to from the streets to the world. Spinn has appeared on lots of tracks with DJ Rashad, but this is his debut EP debut for Hyperdub, and the sound of a producer at the top of his game. From the opener 'Throw It Back', DJ Spinn effortlessly consolidate energies from all over into footwork's 160bpm grid, a rough, creeping acid line rubbing against chopped and screwed rap, over a system-destroying hip hop beat, before a huge drop heralds in double-time kicks. 'The Future Is Now' is an intense minimal track with a gnarly repetitive melody that bleeps somewhere between acid and 8-bit dancehall, before the drums roll into double pace and a vortex of synths build up into a frantic double-speed, with claps keeping pace at half time. 'Off That Loud' is a tribute to weed, rapped lyrics layered and chopped into stuttering patterns against 160bpm drums over a bed of the most gentle rhodes chords. The final track features the talented Detroit MC Danny Brown and is co-produced by the late DJ Rashad. Rashad, Spinn and Danny hit it off while on tour in the US and Danny recorded this rap for them, celebrating footwork's Chicago roots. Chopping between jungle breaks and bass, a high speed jazz guitar and Danny's chorus over footwork kicks and bass, it's a chant-a-long anthem for the scene and the finale to an exciting debut.
We welcome DJ Taye back to Hyperdub for his second EP on the label after last years popular Break It Down EP and a North American tour with Jessy Lanza. The Move Out EP is a masterclass in a distinctly soulful, dusky footwork sound with a melancholic undercurrent thats crossed with a precise eye for detail. Burnin Ya Boa ft DJ Manny opens the EP with a crisp, micro-edited arrangement of tumbling piano, dubbed out chants and a heart-tugging woodwind melody playing hide and seek with racing, ever-changing footwork drum and bass patterns. Go 2 Sleep ft DJ Earl rolls with a narcoleptic woody percussion loop, and a vocal urging Please go to sleep, a request which is challenged with drill sounds, rave stabs, energetic footwork drums, and soft bass tones. The super minimal I Need I Want ft DJ Manny & DJ Spinn takes a house acapella and spins it into something more urgent and compulsive, the vocalists insistent, addicted pleas met with a downcast, tumbling melody. Move Out ends the EP on a brighter note, with big Detroit techno chords and a warm Moog-like solo-cum-melody. The Move Out EP is just a taster for the avalanche of new DJ Taye material forthcoming in 2017.
Londoner Endgame is a new addition to the Hyperdub roster after releases on Lisbon’s Golden Mist Records, and NYC-based Purple Tapes Pedigree. Endgame hosts an excellent monthly show ‘Precious Metals’ on NTS and produces and DJs as part of the Bala Club crew, and he already has mixes and features with the likes of the Fader, Fact, Dazed and Confused and ID under his belt in the short time he’s been releasing music. In his ice-cold productions, Drill, Grime and most notably South American dance riddims are threaded and mutated into tracks that he describes as an ever-evolving vision of the dystopian underbelly of London. ‘Felony Riddim’ is an icy introduction to the EP, an explosive club jam with a menacing and stabbing chime melody leading up to a pounding kick drum. It’s all out war, but you can definitely roll your hips to it. ‘Sittin’ Here Redux’ recasts Dizzie Rascal’s ‘Boy In Da Corner’ opener into a tense anthem, with police sirens wailing in the background, dogs barking, and rolling 808 snares that bring a vibe somewhere between reggaeton and drill. Next up is ‘Fallen’ featuring the MC Organ Tapes - a slow burner that works both as a moody headphone track or a club slow jam. Organ Tapes’ slurred autotuned vocals flow perfectly with Endgame’s blend of grime drums and chiming rap production. The EP finishes as it began, going out with the explosive and high-energy ‘Toxic Riddim’. It’s a mix of reggaeton and futurist dancehall, with a menacing melody and relentless electric shock-like hi hats across a deep sub. Endgame takes you all around the world - but the ice-cold tone unmistakably brings you right back to winding in a dark club in London's culture clash.
Senegal-born, Kuwait-raised, New York-based producer Fatima Al Qadiri works in the opposite direction of most artists' discographies by making her third substantial release, following the Genre-Specific Xperience (UNO) and Desert Strike (Fade to Mind) EPs, her least personal one yet. The former connected materialistic aspects of Middle Eastern and Western cultures while dipping into several strains of dance music, as well as some of the styles she heard in her youth. The baleful latter conveyed the desensitized, escapist feeling she had as a preteen playing a Gulf War-themed video game shortly after living through the conflict. On Asiatisch, Al Qadiri devises a soundtrack for an imagined or (mis-)interpreted form of China. When this was released, she had yet to visit the country, though she was well aware of how it is fetishized, caricatured, and demonized by outsiders. Oddly enough, she was unaware that Hyperdub head Kode9 had termed certain U.K. grime tracks like Preditah's "The Big Wok" -- a favorite of hers -- as "sino grime" and made a mix out of that and other Chinese-themed tracks back in 2005. The album begins somewhat contrarily, with the beatless and elegiac "Shanzhai" -- which incorporates a translated a cappella recording of Helen Feng singing the Prince composition "Nothing Compares 2 U." The following tracks, several of which are named after cities and locations, incorporate sampled or synthesized analogs of struck and plucked instruments, as well as woodwinds. Otherwise, they're not exactly stylistic departures from Al Qadiri's past work, rhythmically tricky with chilling and occasionally alienating qualities transmitted through sweeping and swarming synthesizers and distant voices. The most direct track is the shuffling "Dragon Tattoo," a kind of parody involving cooed refrains of "I got a dragon tattoo on my arm, and I mean to cause you harm" and "Speak Chinese, if you please." Tuning out the conceptual aspect is close to impossible, but there are some moments -- as in the hypnotic "Shanghai Freeway" -- that can be enjoyed on a purely musical level.
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.
Jessy Lanza's second album 'Oh No' is addressed to her own constant nervousness. The pressure of music making, which used to calm her nerves, has led to a whole new world of contingencies that stoke the anxiety mill. The exclamation 'Oh No', for Jessy, marks yet another incident of randomness interrupting her tranquillity. All of which seems at odds with the confidence and spontaneity of this second album as well as recent collaborations with the likes of Caribou, DJ Spinn and Morgan Geist and his Galleria project. Made in her hometown of Hamilton, Ontario, with production partner Jeremy Greenspan from Junior Boys, the plaintive, reverb drizzled mood of the first album has all but given away to a more direct, self-assured and joyful album. As with many artists whose hometown lie off the usual network of cultural hotspots, 'Oh No' is driven positively by the idea of making music that isn't inspired by where she lives. Instead, the album resonates more with the philosophy of experimental pop of Japanese 80s electro outfit Yellow Magic Orchestra and Jessy's breathless, pitched vocals are reminiscent of YMO collaborator Miharu Koshi. Playfully laced with cascading arpeggios, crispy drum machines and breezy songs, 'Oh No' has an infectious energy that has been brewing in her live shows since her first album. As Jessy says ‘I want to make people feel good and I want to make myself feel good’. The album oscillates between the languid, coiled, arpeggiated slow jams of ‘New Ogi’, 'Going Somewhere', 'Begins', 'Could Be U', 'I Talk BB' and the low slung 808 groove of 'Vivica', where Jessy’s vocal gymnastics run wild over minimal drums and synths, and the catchy upbeat boogie of ‘VV Violence’, ‘Never Enough’, 'Oh No' and the high point 'It Means I Love You’ which has a sparse addictive bounce with a pitched up vocal refrain and a nod to Shangaan electro. The trials of dealing with nervousness are also encrypted into the artwork, such as the plants that recur in the sleeve and videos. As Jessy remarked, "I became obsessed with surrounding myself with tropical plants. I've been convinced that the air quality in our house is slowly killing us. It might sound crazy but the plants have made a huge difference." Anxiety and botanical remedies or not, 'Oh No' is a bold second album from Jessy and a marked step forward for her sound. Catch her as she tours with Junior Boys in February, plays EU headline shows from May to June, and in July has a North American Tour.
'Pull My Hair Back' is the debut album from Jessy Lanza, co-written and co-produced with Jeremy Greenspan from Junior Boys, It's graceful and erotic without the gratuitous close ups, icey and sensual, sweet without rotting your teeth, emotional but with enough blue glow to pull your heart strings, Jessy's voice flutters through the synths seductively, insistent without the over-singing and grating choruses that plague so much contemporary pop.
Jessy Lanza meets the Teklife crew on this sultry EP, with DJ Spinn and Taso's first-released RnB track, and a Teklife footwork remix with assistance from the late DJ Rashad. The main mix is a dejected confessional slow jam with Jessy's plaintive vocal sitting in the middle of spiralling drums and teardrop-like chords, a gentle guitar refrain dropping in at the end like a comforting hand on the shoulder. Following an instrumental version, the Teklife mix doubles the tempo, switching the gentleness to deliver an interpretation that touches on tense anger, with the sweeping chords the track is built on snapping into shivering shapes, as strings simmer in the background, building the tension. Also included is Bambounou's remix of 'Fuck Diamond', a track on Jessy's ‘Pull My Hair Back’ debut album, which appears here on vinyl for the first time after an initial CD-only release last year on the ‘Hyperdub 10.4’ compilation). Bambounou transforms it into a rough drum machine workout, leaving sparse elements of the original in place - a splash of vocal and a held chord - building a dynamic trance that slips and slides in and out of different patterns.
The album throws horror soundtracks, sampled library and j-pop records into a no mans land between grime, early dubstep and Chicago footwork. Mostly instrumental, it zigzags between hypnotic, downcast loops, growling drones, jagged cut-ups of androids gone haywire, threaded through twitchy, transatlantic rhythms and sub-bass inaudible through your laptop speakers. Building slowly, but more upbeat than previous albums, many of these tracks have more in common with Kode9's recent singles from the last few years than they do with his two previous albums with collaborator The Spaceape 'Memories of the Future' (2006) and 'Black Sun' (2012) Yet 'Nothing' is haunted both by The Spaceape's presence (he died in 2014 after a prolonged battle with cancer), on 'Third Ear Transmission', a communiqué from a zone of digital immortality, and his absence, on 'Void', whose spaces were originally intended for the vocalist, and 'Nothing Lasts Forever' which closes the album with a 9 minute silence. In 2016, in collaboration with simulation artist Lawrence Lek, Kode9 will tour a live A/V set which revolves around a evacuated, fully automated, luxury hotel known as the ‘Nøtel', whose corporate logo features on the album’s cover. The project explores a post-scarcity world in which the only thing in short supply is humans. The performance guides the audience on a first-person tour through the uncanny architecture of the Nøtel. In sprawling chambers deep within slick glass corridors, they encounter warped spaces, quantum clouds, gravitational pools, dancing voids and holograms of the dead.
Zomby’s new album is his most focussed to date. His ultra-modern music has a unique character, and ‘Ultra’ really displays his ability to create varied and detailed mutations. On ‘Ultra’ he warps discordant Eski grime (‘Burst’, ‘Freeze’, ’Yeti’), creates dreamlike blooms on ’Her’ and Thaw’, and builds crystalline music box takes on house and 2step on ‘Glass’ and ‘I’. Zomby also collaborates on the album with Darkstar, Rezzett, Banshee, Burial and HKE. These all throw up unpredictable fusions and immaculate fissions. The album is housed in a metallic red sleeve, designed by Ben Drury, reflecting the glow of Zomby’s music.
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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.
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