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 […]

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 […]

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 […]

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 […]

Whether or not Tame Impala’s already-booked tours with experimental brethren MGMT and Yeasayer will turn out well remains to be seen, but at the very least, we know the drugs will be good. After all, you can’t help but see the smoke in their superb full length, Innerspeaker, which positions the young Aussies to get […]

Aaron Frank did not name his column. The title stems from a certain editor’s penchant for bad puns and an affinity for both Frank and Dank and “There’s Something About Mary.” Ratatat may need a life coach. Not like I believe in life coaches per se, but there have been bad decisions of late. Like […]