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Scottish Album Of The Year (SAY) Awards Long-list Revealed

Posted on Thursday, 25th May

We're over the moon to see that C Duncan & Honeyblood have made the long-list for the Scottish Album of the Year Awards. C Duncan's The Midnight Sun and Honeyblood's Babes Never Die have been nominated.

Honeyblood - Walking At Midnight (Official Music Video)

Posted on Thursday, 25th May

Honeyblood have released a classic horror-influenced music video for their track Walking At Midnight, taken from their album Babes Never Die. Check it out HERE.

Alex Knight (FatCat Records) - Ban Ban Ton Ton MAY Mix

Posted on Thursday, 25th May

FatCat Co-Founder Alex Knight has contributed a mix to Japan-Based music blog Ban Ban Ton Ton. Click HERE for to listen and read a piece penned by Alex.

C Duncan Supports RY X

Posted on Tuesday, 23rd May

Just been announced that C Duncan will support RY X in Paris on July the 10th. 

All the details here 

FatCat Records Podcast #127 : Leah Floyeurs

Posted on Thursday, 18th May

Leah Floyeurs delivers this months FatCat podcast with a thundering selection of Techno and Acid tracks. Click Here to listen on Soundcloud or on Mixcloud

We managed to catch up with Leah and ask her about the mix and her relationship with the underground Techno scene. Click READ MORE to find out a bit more about the mix...

Leah Floyeurs delivers this months FatCat podcast with a thundering selection of Techno and Acid tracks. Click Here to listen on Soundcloud or on Mixcloud.

We managed to catch up with Leah and ask her about the mix and her relationship with the underground Techno scene.

FatCat: Firstly, thank you so much for taking the time to record the mix for us, we appreciate it.

Leah Floyeurs: Thanks for asking me Alex I feel so honoured to make a mix for Fat Cat. Fat Cat Records and your club Lost are the reason I extended my holiday in the UK by 23 years! This is not an exaggeration. I had been quite homesick for several months after arriving in April 1993 and everything changed after I experienced Lost on New Years Eve, 1993/1994. Lost is the reason I wanted to DJ. So the chance to make a mix for Fat Cat was quite overwhelming to be honest it was intense enough trying to figure out what type of mix I should compile. But as I was sifting through my collection, I was flooded with memories of Lost and all that had happened in my life since then. I knew I had to revisit this early period in techno that changed my life and which, to this day, heavily influences my taste in electronic music.

FC: The mix showcases tracks from some of the greatest names in Techno, Underground Resistance, Jeff Mills, Robert Hood, Drexiya and Joey Beltram to name a few. Can you tell us a little more about your own journey in music and what influenced your obvious love of electronic music and techno in particular?

LF: I grew up in Brisbane listening to mostly hard rock and heavy metal. My mother loved her American folk and jazz, my father sided with military marching band tunes and anything Shirley Bassey, whilst my loyalties lay with ACDC, Anthrax and Metallica. I was also drawn to mournful and disruptive classical music such as Grieg, Rachmaninov and Saint Saëns, and practically every Chopin composition would make me cry. I discovered Jean Michel Jarres Oxygene in the 80s when it featured on the classic Australian film Gallipoli and used to practice replicating it on the family piano. So I think I was well primed for a Detroit techno love affair when I arrived in England 24 years ago.

FC: How difficult was it to narrow down the selection to one hour? Did you impose any rules on the choice of records used?

LF: I wanted to create a mix that was effectively my Lost diary entry. I was invited to Lost by my HMV work buddy, and dear friend to this day, Theresa. I joined HMV in September 1993 and quickly discovered Theresa was the only person at the store who knew anything about underground electronic dance music. She had a tidy bunch of records, a Numark 950 mixer and a pair of 1200s. In her flat that evening before the club, I asked her what the music would be like. 'This is the best way to explain it,' she replied and played Stardancer by The Martian. So this was the first record I ever heard, and it is played from beginning to end in the mix, for this reason.

FC: Is there any particular reason or significance as to why any of the other tracks are included? Any particular memories triggered when you hear these tracks? Lil Louis Blackout was a set opener for me for a number of years people knew that I had taken the decks when they heard it come on.

LF: You know I have vivid memories of Steve Bicknell playing Blackout to close the parties. The lights would all come on, the track would play out and we’d stumble into the daylight, trying to avoid the occasional church congregation outside and McDonalds on the corner. Every track on the mix has a story and it was cathartic putting it all together. I remember Jeff Mills throwing records on while Basic Channel played live from behind a white sheet, I can still see the faces, the clothes and the way people were dancing to K Hand’s Global Warning. Most of the blokes had long hair and no shirts, everywhere was dark and sweaty. It makes me laugh when I think about how much I loved it and how times have changed. It is the ultimate cliche but people went to Lost because they were obsessed with the music that was emerging, predominantly from Detroit and Chicago. The sound was always immense and the conversations that usually took place were about records – where to hear them and how to get them, the answers of which were usually via Colin Dale/Colin Faver on Kiss FM, or at Fat Cat Records in Covent Garden! Lost brought people together who otherwise would never have met, or who may even have clashed, into a dark, no frills space where prejudices and judgements were dropped. Even on those extremely rare occasions where I would break into random kookaburra calls, or told DJs their tracks reminded me of Rolf Harriss wobble board, no one blinked an eye!

FC: Well your choices particularly resonate with us. Most were released in the years in which we ran our Covent Garden record store and many were championed as classics in our store. Where do you buy your records now? Are there any stores who champion the records you play / covet? Or has everything moved online?

LF: I am constantly battling the powerful hermit within so that I get out to record stores more often, but when I do I always end up in a charity shop. I embarked on a record shop crawl through London several months ago and ended up with a few tunes from the ever reliable Reckless Records (including a Clementine ear bleed on Djax Up Beats for £1.50, which was nice). But if I want to stock up on new tunes, it is usually online.
Besides Lost, were there any other regular clubs or nights that helped influence your sound / taste? Yes. Some weekends began at The George in Wardour Street on route to Analogue City, or Hardware, Growth, Stasis or Final Frontier at Club UK. The Strutt at Kings Cross was also a favourite.

FC: I know that you played the club night Choice in Belfast back in the 90s, how did this come about? Belfast, at this time, was still at war and had a real edginess about it. Were there any other legendary nights you played back in the day?

LF: Choice in Belfast in March 1996 was the first time I ever played out, and it came about because Claude Young, who was my fiancé at the time, asked if I could play with him on the bill. I was so nervous I couldnt control my hands but I opened the set with Amazon and it was so loud! What a tune. I remember finally plucking the courage to look up while playing Plastikmans Krakpot, and there were people up on speakers. I also had the opportunity to play at Bugged Out in Leeds and the Sub Club in Glasgow. One of the craziest experiences was in a small club in Saarbruuken, Germany. My DJ name at the time was Susan Young and I discovered, on the night, that one of Germanys greatest porn stars was called Sarah Young, so the place was full of women who had rocked up expecting to see their idol spinning tunes. They were quick to forgive my shortcomings however, and introduced me to Jägermeister. It was only last year, while visiting OYE Records in Berlin, that I saw a large portrait photo of Sarah Young (with her autograph) in the neighboring sex shop window. I could not believe it. All those stories had been true after all.

FC: The Techno scene has always appeared to be male heavy. Do you think this is changing? What has been your experience of working in and around the scene? Have you encountered any issues? What advice would you give to other women looking to get a foothold in the world of DJing?

LF: In my experience techno is a male dominated arena. But I was out of the scene for long time – more than a decade , so I do not think I can speak with authority on whether and how it has changed. It was only when I began my show on the internet in May 2012 that things started to shift. The London club 50arc launched in November 2012 and Steevio of Freerotation in Hay on Wye asked me to play at his festival in 2013. In these recent years, I have never experienced any issues or notable resistance from others that would stem from my being a female techno DJ. Most of my obstacles come from within, just like any other person. My advice to a woman wanting to get into the world of DJing would be: be 100% clear on why you want to do it, and write it down, because there will be times you will forget. And practice, practice, practice!

FC: At present you host a regular internet radio show, Leah with Sound on Timeline Music, are resident at a number of underground events (Freerotation, 50arc, Pink Elaphant and Breakfast Club) and guest DJ at a number of venues around Europe. Where can we find you across the summer 2017 and beyond?

LF: The next three weeks are in London at Pink Elephant on Saturday 20 May, Creatures on Friday 26 May and 50arc on Friday 2 June. Then after a visit to see the family in Australia, I play Freerotation in Wales, 7th to the 9th July. I am also part of a DJ collective called Guarantee Connection Artists, run by Thirds Ears Guy McCreery – he will be reviving his Breakfast Club that opens 6am on Sundays and I will be joining some of the DJs as resident there also.


New Demo Online - Jules Camp

Posted on Monday, 15th May

We have just posted a new demo by Jules Camp entitled 'Weekday Blues'.

Jules who is from Grand Rapids, Michigan has been writing music from a young age and explores themes of childhood memories, regret and loss on her latest collection of songs.

'Weekend Blues' is a stripped back affair of Jules vocals and guitar, and can be listen to here.

Tour Dates

Various Bristol Venues
Bristol, United Kingdom


Various Nottingham Venues
Nottingham, United Kingdom


London, United Kingdom


Tall Ships
2000 Trees
Upcote Farm, UK


C Duncan
Salle Des Concerts - Cite De La Musique
Paris, France