By PAUL CRAFT

INTERMISSION Mixtape Master

The mixtape has become a cultural phenomenon. The mixtape first became relevant in the 1980s with the rise of audiotapes. It was a symbol of the underground, the independent and the do-it-yourself culture. For the first time, kids could assemble songs from dozens of different bands and put them into one easily accessible source. Bands could get exposure via the local mixtape. Suddenly, individuals—not just bands and record labels—could control the songs on an “album.” A world of infinite possibilities opened up to the listener; a new vehicle for expression was born.

This freedom then expanded with the introduction of CDs, computers and the Internet. Now the individual truly had almost every song he could ever want at his fingertips. All the listener’s creative energies could be set free via some digital music files, a CD and a computer. Now mixtapes have proliferated not just to the scenester who listens to Flock of Seagulls (as it was in the ‘80s), but also to regular people like you and me. The musical world is our blank slate.

After years of trial and error, most mixtape masters have calibrated a few general guidelines for reaching musical rapture. For a more detailed list, please refer to the delightfully pretentious book/movie “High Fidelity.” The first song, for instance, must grab the listener’s attention. Your mixtape’s first impression is key; it sets a tone. (Think, for instance, “Silence Kit” by Pavement on the album “Crooked Rain, Crooked Rain.”) Secondly, you’ll want to kick the mixtape up a notch — something that really drives home the point. (Think “Obstacle 1” from “Turn on the Bright Lights” by Interpol.) But you don’t want to blow the speaker, so the third track should cool everybody down a bit. It should be sprawling and memorable, but not in-your-face like your first two tracks. (Classic example: “Across the Universe” by the Beatles on “Let It Be.”) Then try to maintain the balance of tempo for the next few songs.

By about the sixth track, Side A is wrapping up, so the seventh track should then kick off side B with some energy. (“The Well and the Lighthouse” by the Arcade Fire is an example.) Accordingly, the tempo should pick up a bit. But this is ultimately illusory, for the tape is actually beginning its slow descent to the end. I mean, how many hits do you ever find positioned in the latter half of an album? (Good example of a side-B track: “Stay Away” from Nirvana’s “Nevermind.”) And then wrap it all up with a grand, epic farewell. (Best closing song ever: “Day in the Life” off of “Sergeant Pepper.” Final orchestral climax? Way epic.)

But even with these general rules in mind, each mixtape is different. Mixtapes are ultimately a reflection of the thoughts, mood and character of the mixtape master. Above all, mixtapes are dictated by the master’s message. Every move on a mixtape should be made with this question in mind: What is this mixtape trying to say? Usually the best way to clarify a message is to choose a theme.

A mixtape’s theme determines which songs you choose and where you put them. Is your mixtape theme “Summer road trip”? Hopefully it’s not, because that’s pretty clichéd. You can do better. Or perhaps it’s “Cool bands from the Bay Area”? Using local bands gives you major indie points. Perhaps it’s “French rap.” Even just the thought is pretentious...and, therefore, a winner. Overall, there are infinite themes for your mixtape. You, the mixtape master, must chose which is best.

Let’s start off with a classic indie angst mixtape. This is the sort of mixtape you’ll want for long drives at night, all alone, with only the haunted memories of your past. It’s the old trusty CD that you can pop in after a breakup, a terrible midterm or a Stanford football game.

Sample:

1) The Cure or New Order: An upbeat song by one of these bands will always leave you blue. Just throw on that bouncy beat and start crying.

2) Strong and angsty — Modest Mouse: This band has gotten a little big as of late, but their early stuff was both incredibly indie and incredibly angst-ridden. Just pick something with crashing, noodly guitars and Isaac Brock screaming.

3) Cassiotone for the Painfully Alone: The name says it all. Ambiant, repetitive slow-burners riff with 20-something depression.

4) Velvet Underground: Choose something morose and spacey — preferably something referring to the angst of substance abuse.

. . .

12) Explosions in the Sky: Most EITS songs start slow then build to a crescendo. This is perfect for the final track. Best of all, most of them are so achingly beautiful that they may make your life a bit more redeemable.

Now we’ll touch on the romantic mixtape. The social politics involved with the romantic mixtape are best summarized by the theatrical production “Avenue Q.” In this musical, a girl receives a mixtape from the guy she has a crush on. She searches frantically for signs — in the title of the songs — that the guy likes her back.

1) Pet Sounds-era Beach Boys: Nothing says innocent, idealistic romance like “God Only Knows.” The harmonies and orchestral arrangements are just so dreamy and fun.

2) Sufjan Stevens: It might be hard to find a specifically romantic song from this folkster, but so many of his songs evoke a wistful, melancholy mood that he might be a good choice.

3) Iron and Wine: Sam Beam’s breathy vocals and bleeding heart lyrics will surely melt the heart of any listener. It’s just so tender and loving!

4) Elliot Smith: Try something a bit more upbeat, without the biting cynicism.

. . .

12) Damien Rice: He has that one song about staring at you a lot. It’s all vocals and angst and heartache. The a capella ending seals the deal. Great last impression.

Well, there you go. I’m sure in some capacity you were aware of the art of the mixtape. It’s a set of invisible rules that we all live by. All you need is a message, iTunes and a CD.