Aaron Frank graduated with a degree in communications from the University of Louisville. He has written about music and pop culture for Rolling Stone, The A.V. Club, The Village Voice and LA Weekly.| Frank & Beats: Cut Copy’s Embrace of Novelty | February 3, 2011 |
Aaron Frank is more of a rotoscope man. For any relatively discerning critic or fan, the follow-up to Cut Copy’s stellar 2008 release In Ghost Colours isn’t a flop by any stretch. In fact, Zonoscope affirms the band’s consistency as one of the best new wave-inspired rock groups, and will likely be another selling point […]
| Frank & Beats: J Rocc Rocks Benji B | January 21, 2011 |
If any weed dispensary owners are reading this, both Frank&Beats and Passion of the Weiss are accepting sponsorships. Since Benji B replaced longtime favorite Mary Anne Hobbs with his new program last year, he’s already given us some memorable mixes from Jamie xx and Darkstar. Turning his focus to Los Angeles artists J.Rocc and Flying […]
| The Winter of George: Twin Shadow Do Daytrotter | January 13, 2011 |
Aaron Frank has been playing frisbee golf all winter. At the outset of every new year, I inevitably find an album that should’ve appeared on my previous year-end favorites list. I stupidly shrugged off Fever Ray as “too weird” in 2009, and eventually became a serious fan through her debut album and dynamic performance at […]
| It’s Just a Phase | December 14, 2010 |
For the past two years, Phaseone has released mixes that perfectly coincide with the onset of Seasonal Affective Disorder. Anyone afflicted will tell you they notice an almost immediate change in mood after Daylight Saving Time ends. Even in Los Angeles where it’s relatively warm throughout the winter, the melatonin deficiency triggers a natural preference […]
| Frank & Beats: Gangrene’s Fresh Gutter Water | November 18, 2010 |
Aaron Frank rolls up spliffs longer than hockey sticks. Rappers bragging about their weed habits is nothing new–especially in a year like 2010, with Curren$y, Wiz Khalifa, and Rick Ross hogging the sativa spotlight. But in 2008, when the Gangrene collaboration between Alchemist and Oh No was first announced, Jim Jones and Lil Wayne prominently […]
| Frank & Beats: The Gaslamp Killer’s Descent to the Death Gate | October 21, 2010 |
The Gaslamp Killer – DEATH GATE from (((∆))) on Vimeo. Aaron Frank is not afraid of Death. They’re afraid of him — there was a falling out over a quibble concerning the proper amount of hair spray. Previously down for his dynamic DJ sets and choices in facial hair, Willie “The Gaslamp Killer” Bensussen […]
| Frank & Beats: James Blake’s Songs of Experience | October 15, 2010 |
Aaron Frank empathizes with James Blake having two first names. It was a welcome surprise when James Blake opted to follow his stellar CMYK with another in the same year. CMYK was a groundbreaking first step for the “post-dubstep” genre, and though I’m circumspect towards that particular name (I remain vague on the definition of […]
| Frank & Beats: In Which I Hype Magnetic Man | August 11, 2010 |
With Sach O out of town, Aaron Frank is determined to fill his quota of writing about largely obscure bass music. Granted my tolerance for standing in a hot, outdoor meat market with hordes of jaw-grinding, community college freshmen that likely don’t even know who’s performing is beginning to wain. But after checking out the […]
| Frank & Beats: Flying High With Curren$y | August 4, 2010 |
Aaron Frank turned in this review three weeks ago. In a tribute to Curren$y’s weed habits, it is running absurdly late. Since leaving Lil Wayne’s Young Money label in 2007, Curren$y’s work ethic and output has roughly paralleled his ex-mentor. He has released nine mixtapes and two independent albums with Amalgam, thus obliterating any notion […]
| Frank n’ Beats: Lorn Again | June 13, 2010 |
Aaron Frank might pop up in your cereal. Since attending last year’s Nosaj Thing-headlined Brainfeeder Sessions, I’ve noticed Lorn’s “Tomorrow” popping up in DJ sets from Gaslamp Killer to Mary Anne Hobbs. Boasting an unmistakably dark tone, it veers on industrial, making it stand out from the often Dilla-descended beats that pound at the Low […]
