Tree Colored See is a collaborative effort between renowned L.A. hip hop and electronic producer Nobody (Elvin Estella) and Mystic Chords of Memory (featuring Chris Gunst of The Beachwood Sparks and The Aisler SetOs Jen Cohen). After swapping successful guest appearances on a few releases, the trio began working on a collaborative project in the spring of 2004. After a year filled with road trips and mailorder-only production efforts, the group hits upon a perfectly crafted blend of psychedelic hip-hop and sunshine folk-rock. A producer/ arranger in the classical sense, Nobody uses his samplebased tool set to create the foundations of the album. Gunst continues to mature as a songwriter and along with partner Cohen, adds wistful vocals and accomplished musicianship. Fans who may have followed these artists throughout their respective careers will be thrilled at how Tree Colored See brings out the best in each.
Shouts to: Grandma (I miss you) Wylie, Dome of Doom, Low End, Alpha Pup, TeamSupreme, Rootnote, Cotown, Zona, Hit+Run, MHD, Brainfeeder, Meme Mob, El Sereno, Suzi Analogue, Beat Cinema, Leaving Records, Hideo Kojima, Gian, Adal, Alex, Jonny, Durks, Teman, Raman, Fey, Depy, Gypsy, PinkSiifu, Lundy, Ringo, Alima, Stevie Wonder, Nalepa, Kenny, Driver, Milo, Gramps, Lauren, Lesli, Chris, Mom +all other friends and fam i love you
DOME OF DOOM RECORDS IS PROUD TO PRESENT: FRENCH TOASTED by Elusive Special thanks to Wylie for the opportunity to release this limited edition cassette, Dome of Doom, Daddy Kev, Alpha Pup, Jake, Erik, Kwasi for artwork, Low End Theory, DJ Nobody, Elos, Rootnote crew, Resonate crew, Smart Bomb crew, Hit and Run, Brandy, Jupiter, Beat Theatre, Beat Cinema, Melissa for vinyl, my parents for the vinyl collection and samples, all the people who support my music, and all the stores that have sold my music... thank you.
Alfred Darlington, better known as Daedelus, is an influential Los Angeles producer and cornerstone of the electronic & beat music scenes both locally and internationally. Over the last 15 years, he has released a number of full-lengths, EPs and remixes on labels like Ninja Tune, Anticon, and most recently Brainfeeder, namely the collaborative Kneebody Kneedelus release last year. With this LP coming out on his own label, Daedelus now wields the power to wind through the maze on his terms, sharing music and further developing the Magical Properties platform. There will also be a very special limited edition cassette pressing of ‘Labyrinths’ in collaboration with fellow Los Angeles label Dome of Doom. The first press is limited to 300 copies. Twisting, complex, and rhizomatic - Daedelus unfurls a maze of genre on Labyrinths, juxtaposing disparate influences while maintaining an underlying love and appreciation for all styles.
Veteran underground hip-hop producer from New Jersey, P-Original, best known for his work with El Da Sensei (of The Artifacts), Beneficence, Pacewon, and Dr. Becket drops a brand new LP of blazing instrumentals. Earthy, warm beats from the MPC and classic SP1200, emblematic of the award winning cover design by illustrator Brad Yeo featured in Creative Arts CA that lean on the Jazz and Soul side. A beautiful pressing on 180 gram vinyl limited to a small run of 300 copies.
Collection of self-recorded covers of songs by Frankie Cosmo's friends.
Traversal serves as means of pivoting in all aspects of life. Created in Headphones, For Headphones. Available for the first time on clear green cassette, ‘Traversal’ features some of the most talented up and coming producers in the world. Dutchy aka Dutchmassive has been involved in the independent Hip-Hop scene for over 20 years working with the likes of Celph Titled, Apathy, Vast Aire, J.J. Brown and more.
Jay Dee, aka J Dilla, emerged as a Hip Hop producer to be reckoned with in 1995 when his name was attached to the first single from The Pharcyde's eagerly anticipated sophomore album "Labcabincalifornia". Drop the needle on his first Pharcyde production "Runnin" and you have the launch point of a producer's career that mesmerized, titillated and expanded the domes of Hip Hop fans for the next decade. "Jay Deelicious: Originals, Remixes & Rarities" documents Jay Dilla's early production on Delicious Vinyl. Working closely with The Pharcyde and Michael "Mike Floss" Ross, (Delicious Vinyl's founder), Jay Dee was instrumental in keeping The Pharcyde's second album as ear poppin' and bugged as their maiden classic "Bizarre Ride To The Pharcyde", stepping up big time after the group parted ways with "Bizarre" producer J-Swift. In addition to original productions and remixes for "Labcabin", Jay Dee skillfully worked with the label on incredible mixes for the Brand New Heavies, as well as unreleased remixes for former BNH singer, N'Dea Davenport. From the jazzed out Rhodes syncopation of "Sometimes" featuring Q-Tip, to the crazy cutting up of "Got To Give It Up" for "Saturday Night" featuring Mos Def, Jay Dee shows there's no tempo he can't freak on some otherworldly jazzed up funk tip. So put on your head phones and take a trip into the early work of a Hip Hop master. Umm Umm JayDEElicous! In respect to Dilla's legacy, all proceeds from the sale of this release will go to Maureen (Ma Dukes) Yancy.
Omar Souleyman's Bahdeni Nami, featuring productions by Four Tet, Gilles Peterson, Modeselektor, and Legowelt, is now available as a cassette, with download code included. Perhaps Syria's most successful musical export, international singer Omar Souleyman returns with his second proper studio effort and most personal album to date, Bahdeni Nami. For the album Souleyman opened his doors to collaborations with a number of renowned electronic producers, all of whom were established fans eager to offer unique interpretations of his sound. Four Tet returns to produce a track, Gilles Peterson lends his considerable talents to one song, Modeselektor turn in the two fastest dance numbers of the set, and Legowelt offers a remix of the title-track. Additionally, a 7" planned for release in August 2015 will feature a thoroughly distinctive remix of one of the album's heartrending ballads by The Black Lips' Cole Alexander (MONKEY 056RMX). Bahdeni Nami was recorded closer to home, in Istanbul, and appropriately the singer is joined by traditional accompaniment. Souleyman has reunited with his favorite poet, Ahmad Alsamer (who penned his pre-west hits "Kaset Hanzel," "Khattaba," and "Shift -al Mani"), heard throughout the album offering claps and wails of encouragement. The songs come alive with musical contributions and support from the virtuosic sax work of Khaled Youssef, another longtime collaborator from his hometown. Rizan Sa'id's keyboards improvise devotedly to every tune and turn of Souleyman's choice. The lyrics are familiar territory for the singer -- declarations of eternal love, consolation of one's aching heart, pleas to his lover to sleep in his arms forever -- realized as four fast dance numbers, an introduction mawal, and an elaborate araby style ballad. Omar Souleyman continues to tirelessly bring his wild dance party to all corners of the globe, everywhere from SXSW to the Nobel Peace Prize Concert to rock clubs in cities around the world. Originating from the Hasake region of Syria, Souleyman earned his reputation by singing and leading years of weddings, birthdays, christenings, corporate parties, and more, answering invitations from all peoples living in the region -- be they Muslims, Christians, Kurds, Iraqis, Syrians, Assyrians. Those parties yielded hundreds of cassette tapes at first offered as gifts and later distributed throughout the region and other Arab countries. Despite the world's insistence in associating him with his home country's unending war, Omar Souleyman gives back nothing but love.
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Limited edition 18 min high-bias cassette tape! Comes in a clear Norelco box.
A true community effort, Zona Music(a) proudly presents “West World” from the legendary Sacred. Sacred co-founded the celebrated Los Angeles dance party JUJU and was also a part of the inner circle of the now famed Los Angeles beat night “Sketchbook” which birthed artists like Ras G and Flying Lotus. On ‘West World’ he takes his mastery of music to the next level through 31 original tracks. Though he didn’t ascend to being a household name like some of his peers, Sacred’s sound and passion for music shines bright. He is a real inspiration.
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j^p^n's enigmatic presence plays hand-in-hand with the wizardry surrounding his music. His sample flips range from nostaglic, smooth soul to angelic choir vocals, but it's what blooms around the samples that makes his music so unique: masterful layering and whipping percussion. [ favor ] is a dense 22-track album made for cassete and reminsicent of the work of producers like Knxwledge, Swarvy and Ohbliv.
Long Beach serial chiller Ahwlee is a beat vet who delivers smooth buttery samples with a nostalgic vibe. 1991 is a cult classic cassette now reissued for the first time. These tracks are dusty, mellow and easy-going. Don’t mistake mellow for boring, however, because Ahwlee’s production is nuanced and intricate underneath the minimalist overtones. There’s jazzed-up Rhodes all over the place, and the percussion work masterfully includes a ton of negative space in between perfectly chopped breaks. They’ll get your head nodding.
One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music. There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t “Feelin’ Bitchy” until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade. Ms. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ‘60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix — personally inspiring the classic album ’Bitches Brew.’ But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal. In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as “If I’m In Luck I Might Get Picked Up” and “Game Is My Middle Name.” The album Betty Davis was recorded with Sly & The Family Stone’s rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.
“You’re cool, the engine’s hot, the girls gorgeous. A tankful of gas and an openroad…The rest is up to you!" Different Worlds Music Group/Fat Beats are thrilled to announce the release of the latest album from Skizz (DJ Skizz), “Cruise Control,” available everywhere on July 29th, 2016. Cruise Control is Skizz’s 2nd official producer album. Over the last couple years, Skizz has been working extensively with Your Old Droog, both producing and mixing his music, helping to propel the career of the young MC from Coney Island. He has also been touring with Droog as well as making beats for other noteworthy artists. Skizz has also been busy helping to start the new music label, Different Worlds Music Group. This will be the 2nd official release from Different Worlds. The label released Timeless Truth’s critically acclaimed “Cold Wave” album this past February. “Cruise Control is a progression for me sonically,” says Skizz. “This album takes you from where B.Q.E. left off- it’s still that raw boom-bap, but this album is a bit more laid-back and melodious. It just feels good, like you’re cruising with your lady and the cool breeze is blowing through your hair!”. Skizz recruited a mix of veteran OG MCs (O.C., Planet Asia, Roc Marciano, Evidence, etc) as well as upand- comers (Your Old Droog, Conway, Hus Kingpin, Da Villins,etc) to provide a sonically cohesive album that is set to be the official Hip-Hop soundtrack for the summer of ’16…
Los Angeles native Zeroh gets loud, technical and strange all over again on his new 10-song album "Tinnitus" [HNR65], which is essentially well crafted organized noise. The album was strung together and embellished amongst 15+ hours of music in a dark smokey garage on little to no sleep. The severity of this raw bludgeoning, echoes pain in the heads and ears of your typical everyman in an attempt to bring them to higher state of consciousness. Even so, Zeroh emanates a low glowing light close to the chest... the one saving grace for this genius god awful cacophony.
Magic (LP) is Hairy Hands' first full-length release and it picks up where last year's 'Battlecat' EP left off. Multi-instrumentalist, producer and singer James Alexander Bright (Hairy Hands) sits in the front seat alongside fellow label mate Peter Lyons. The album weaves its way from spaceship bathroom romp past wonky breathless samples chopped in a way only Hands makes work. A true journey lies within Magic. Get it on cassette via New Los now and enjoy this incredible music. Don't sleep on this one.
My Chemical Romance release their posthumous greatest hits album - "May Death Never Stop You". The collection spans the decade-plus career of this remarkable band, whose unique, theatrical punk-pop sound earned them legions of devoted fans. MCR rose from the East Coast underground to the forefront of modern rock during the early 2000s to become a multi-platinum selling artist, with four commercially successful studio albums : I Brought You My Bullets, You Brought Me Your Love (2002), Three Cheers for Sweet Revenge (2004), The Black Parade (2006) and Danger Days: The True Lives of the Fabulous Killjoys (2010). In the form of one final hurrah one final single, Fake Your Death has been included on this album. The track is one of the last songs the band worked on in the studio together. As something of a eulogy for the band, frontman Gerard Way has rendered the track "...a service to those who believed in a band that did not compromise, and a wave goodbye to all. And yes, it is fucking heartbreaking."
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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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