Welcome to Frank Fridays, where every time out we let a professional let you know what you should be listening to this weekend.

Four Color Zack is a DJ and producer out of Seattle, though dude has so many road gigs these days he rarely gets the chance to play in his own city. The former Red Bull Thre3style Champion just re-released his EP for Fool’s Gold and is working on his 2¢ collaborative project with DJ  Craze. He also is one of the owners of the Seattle skateshop Alive and Well.


Hanni El Khatib, “Gonna Die Alone”

Hanni and I used to work on design stuff together, back when he was solely doing the creative direction of Huf out of San Francisco and I was doing other streetwear brands. That’s the realm that we met in. Years later when he started putting out his music I was already a fan. When he got involved with Innovative Leisure it was like a sure thing for me.

It’s nice to hear how he juxtaposes his ultra depressing, hopeless lyrics with a really strange, awkward upbeat delivery. I have played his stuff at events where there are skate kids at something clothing related, but I’ll typically just listen to him during my day-to-day. I think the last time I played him out was at a Do-Over in LA, and it went over great. Nobody flinched. It was awesome.


I don’t really know about [DROELOE] himself. I was clued into the song by a couple other fellow DJ/producer guys who were saying, “Oh shit, have you heard this?” It’s definitely a product of the SoundCloud producer era. I checked it out and I was blown away because it was a slightly different take than all the other post-trap, future bass, whatever (there are so many buzzwords that probably describe it that I have no idea). The nice thing about [“zZz”] is that it actually feels like it has some songwriting ability for once and it has really good detail work in the production.

If you’re riding around SoundCloud for enough years and you see what the people you follow are reposting, you can get around pretty quick. I actually make a conscious effort to figure out how long it would have taken for me to naturally run across [“zZz”] without being linked to it, and it was surprisingly longer than I thought. I felt like it was coming up on two months, which in reality is not that long, but in the weird SoundCloud universe, two months feels like forever.

I’ve caught myself both playing [“zZz”] out and listening to it by myself, especially on planes. It bounces back and forth between being pretty chill and having just enough energy that kids can turn up to it. A lot of times I’ll force myself to listen to stuff in different environments just so I know how much I really want to play it. There are tons of songs where you have that expectation of “I should be playing this because it’s going to work,” but I’d rather have that connection to a tune, so if I drop it, it’s going to feel even better.


Hoodrich Pablo Juan, “Walk Like Money” (produced by Brodinski)

Brodinski is one of those guys where when if I see he has stuff coming out, I automatically have to check for it. This was one of those ones where I didn’t see it coming and he posted it one day and it was everything I would have wanted. It’s that drugged out, overly chill, yet somehow turned up type of rap tune that only certain types of producers can get away with. I have no idea who [Hoodrich Pablo Juan] is, and I kind of like that I don’t. I didn’t feel like going and finding out more because I just wanted to enjoy the work and not get hung up on who he is.

The feeling of the tracks aren’t the same, but [“Walk Like Money”] reminded me of the sensation of when Weeknd dropped the first mixtape and nobody outside of Toronto had any idea who the guy was or who the team was or what was going on. I really like that anonymity at times, because it is rare. Now when something like this comes out, as long as I know enough about what it is, sometimes I intentionally stop there and just soak it in as long as I can before I’m forced into learning every single thing about the artist.