Zepeda Midnight Mini Mix

1. Carnage the rebel a cappella
2. Getcho Ass Out the Car
3. Warped Vinyl
4. Onoe Mashimoto
5. Poethics- Weathered
6. Highway 212
7. West Mac // Fat Sac
8. Onoe Caponoe A Cappella
9. Sekihō (rare logic ting ting)
10. Bitches Got Some Anna (LOS)
11. Foreign Jewelery
12. BEWG
13. Stay Focused
14. Thrasher
15. Who is Zepeda?
16. Dilated (Disco remix)
17. Bomboo (2013 drunk mix)
@cakelord
@onoe-caponoe
@carnage-the-rebel

Larry & the Babes Guest Mix

 A lot of the artists on this playlist are particularly inspiring to me because they've released recordings created at home or under other untraditional circumstances, producing an imperfect but totally unique and enjoyable listening experience.  — Larry & The Babes

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Bedroom Pop

Written by Caleb Oldham

The bedroom is a sacred place. It's a shrine to lost hours, boredom, but most importantly, self-discovery. To the dismay of parents who told their children to "go outside and play," for most of us, the bedroom was a place where identity could be forged. Free from the scrutiny of the outside world, we found ourselves inside endless rabbit-hole Wikipedia searches or sheltered creative endeavors. More than the candy of lo-fi-lovers, bedroom pop represents this rare haven of freedom. The songs on this playlist are the ones that make me think of 3:30 am, personal diaries, and all the creative fervor that goes hand in hand with having your own space.

PC Music +

Written and Compiled by Mark Brathwaite 

Our recent Op-Ed on PC Music coincided comfortably with the April release of the London label’s first in house compilation, PC Music Volume 1. In contribution to the increasingly-dense wall of column space that the label has generated over the past 12 months, this week’s mixtape features an array of tracks produced or remixed by PC Music artists and affiliates. The set begins with DJ Warlord’s “Santa is My Girl,” a shimmering juke-slapper released by the Chicago-based artist collective Priztats as part of Christmas 2.0, a collaborative event/website with PC Music. Other highlights: Danny L Harle remixes Kero Kero Bonito (the Anglo-Japanese video-game-hop band of which labelmate Kane West is a founding member); Lipgloss Twins offer up dizzying, sugar-coated delirium on “Wannabe”; and label founder A.G. Cook lends a commentary on our screen-mediated cultural experience in his remix of DJ DJ Booth’s “Heaven.” Closing things out is Sophie’s “Hard,” one of the most intense, textured, and thoroughly fun club cuts of 2014.

Sound Art

Jesse Silbert's mixtape this week focuses on sound art, ranging from the "highly-composed to completely improvisational."

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Roots: African Hip-hop and the Sounds of Cape Town

Written and compiled by Rebecca Herpin

Original artwork by Amelia Edwards

Hip-hop has always been one of the more politically expressive genres of music. The poetry of rap in combination with the consistent beats of hip-hop allows the artist to express every inner sentiment rhythmically, giving life to the lyrics and content. It is impossible to separate a person’s heritage, strife, and position in society from their beliefs, and the music of South Africa, especially hip-hop, is saturated with messages of love, loss, and political dissatisfaction. Furthermore, what is interesting about African hip-hop is the opaque difference between female and male rappers. Both sexes tackle difficult social issues with the same lyrical expertise. However, many female African rappers flow in a nasally tone, perhaps to contrast the traditionally masculine production style or to over-feminize their voice in a hegemonic industry.

Proper context for the music of lesser known hip-hop artists, such as those featured in this mixtape, can come from understanding the more popular hip-hop styles, which many of these underground acts seek to distance themselves from. The raving anger of famed South African rap duo Die Antwoord, for example, is contrasted by the emphasis on lyricism and freedom of self-expression found in many of these acts. Burgeoning rapper AB Crazy is an example of the younger generation of African rappers, who make use of autotune gratuitously. Jam Jarr self-brands as “glitch rap,” a lively and inventive sound. In general, the artists featured here are marked by a piercing attention to their own race, political opportunity, and artistic individuality.

AUSTRALIA

Written and compiled by Josh Sudman

Original artwork by Amelia Edwards

Australia: besides being the native land of kangaroos and didgeridoos, the Land Down Under is packed with music scenes, ranging from post-punk garage rock to traditional acoustic folk to electronica.  The sounds of each scene take influence from one another (as well as a variety of genres arriving on Australia's shores), yet each manages to produce a distinct voice within the greater music community. Sometimes lulling and dreamy, sometimes quick and blunt, check out how these Aussies do it!

Chill Beats Part 2: Revenge of the Chill

Written by Caleb Oldham, compiled with Jesse Silbert

Original art by Amelia Edwards

The success of the original Chill Beats playlist has only reinforced my initial hunch that downtempo, jazz-inspired beats were what SoundCloud was originally intended for.

Rock n' Roll has its place on Bandcamp, where sounds are influenced by the 60's. Chill Beats, on the other hand, are found on SoundCloud, where sounds are directly sampled from the 60's.

A good number of articles that are written these days read: "mixing the modern with the vintage" or something of the like. Rock is in a weird rut where everyone wants to sound like "All I Wanna Do" by The Beach Boys, but no one wants to admit it. Indulgence in nostalgic tendencies could mean the death of the genre. Chill Beats, on the contrary, reject the hesitation surrounding nostalgia and fully delve into a fuzzy, romantic world covered in a sheet of vinyl static warmth, supported by a clumsy drum kit that manages to trip over its own feet in a perfectly infectious manner. This certainly isn't a sign of progress; it's more like a willful dispelling of Rock's current insecurities.