| 1 | Tori Amos | "Speaking With Trees" | single | It isn't villains who deserve our vigilance. |
| 2 | Tanya Tagaq | "Tongues" | single | The zealously evil announce themselves, |
| 3 | Da Igual | "TE ENTRARÉ" | single | in costumed and mythical splendor, |
| 4 | Karlien Van Jaarsveld | "As Dit Reën" | single | to embody our idealization of ourselves |
| 5 | Brendan Peyper | "Die Wolf" | single | by turning it inside out |
| 6 | Springbok Nude Girls | "Crystal Ball - Radio Edit" | single | and then polishing the thus-exposed surfaces |
| 7 | Melancholiaah! | "七色 love story" | The Diary of Our Years Together | that are usually wrapped around our emotional and actual organs. |
| 8 | flumpool | "Sono Tsugini" | single | Performative toxicity does exist, |
| 9 | Nerd Magnet | "DETENTION" | single | but is easy to rally against, |
| 10 | The Otals | "サマータイム.JPG" | single | because performative virtue is performatively equivalent. |
| 11 | 裸体 | "何処までも" | 明日を想う | Black shields, white helmets, |
| 12 | XAAXAA | "aza" | single | swords longing for the touch of each other's edges: |
| 13 | CODE OF ZERO | "tell everything only you" | single | while you wear these uniforms |
| 14 | ARAKI | "Live this moment" | single | you are exempt from moral introspection, |
| 15 | RAISE A SUILEN | "Domination to world" | Domination to world +1 | as if it is sublimated from skin you can't reach, |
| 16 | GUNIX | "宴" | CLOWNS | inaccessible under your own armor |
| 17 | Dizzy Sunfist | "So Beautiful" | single | or bare under the insignia of your most aluring enemies. |
| 18 | AFTER SQUALL | "UP" | single | All insidious disintegration happens between these celebratory wars. |
| 19 | AprilBlue | "シーサイド" | single | We are undone in moments that feel like composure, |
| 20 | 星街すいせい | "Stellar Stellar" | Still Still Stellar | by systemic processes gifting us empowerment with a flourish |
| 21 | Mary's Blood | "Be Myself" | Mary's Blood | that conceals the way the giving hand |
| 22 | Beast In Black | "One Night in Tokyo" | One Night in Tokyo +1 | as it pulls lingeringly away |
| 23 | The Spider Accomplice | "Clinging to Your Skin" | single | along the curve of our hip |
| 24 | AfterTime | "Infinite Legacy" | single | steals context from an unguarded pocket. |
| 25 | Rubén Kelsen | "Tierras del Sur" | single | False agency is the power to make decisions |
| 26 | Supernova Plasmajets | "Take Me to the Underground" | single | without the information required to make them properly. |
| 27 | Lords of the Trident | "The Touch" | single | Once you can sell someone this pointless notion of freedom, |
| 28 | Ghost | "Hunter’s Moon" | single | it is a trivial optimization to also detach the decisions from consequence. |
| 29 | Within Progress | "Absolute Circle" | single | Real evil is encoded into corroded infrastructure |
| 30 | Feuerschwanz | "Untot im Drachenboot" | single | that perpetuates convenient inequity |
| 31 | Sorbus | "Glapp" | single | through the bombastic application of simultaneously immaterial and underinformed whim |
| 32 | Teramaze | "Untide" | single | disguised as diligent judgment. |
| 33 | Windom End | "Equality" | For Better Times | Facebook didn't set out to intentionally amplify apocalyptic disinformation. |
| 34 | MØL | "Vestige" | Vestige +2 | It just built a teeming seemingly-walled city guarded by nominal sentries equiped only to recognize slavering wolves, |
| 35 | Lucifer Ascending | "Jovian People's Liberation Front" | single | and armed only to repel lost pets. |
| 36 | The Moor | "Emissaries" | single | Modern media aspire to the form of a victrola |
| 37 | Exist Immortal | "Epiphany" | Act Three - Water 3 | whose horn clamps sphincterially around your head, |
| 38 | Lords of Black | "Bound to You" | single | and nudges into your limp hand a stiff button |
| 39 | Demigod Unleashed | "Silence" | single | that does only Pause and Play, |
| 40 | Hypocrisy | "Dead World" | Dead World +1 | where Pause means "now admit that you're trying to sell me something", |
| 41 | Atlas | "Uhri" | Uhri +3 | and Play means "now put your hand over the price tag", |
| 42 | Schavot | "Tussen muren" | Galgenbrok | and both states play music |
| 43 | Converge | "Blood Moon" | single | for every reason other than its inherent and essential avenging majesty. |
| 44 | Full Of Hell | "Celestial Hierarch" | Garden of Burning Apparitions | Restorative moral reasoning begins with the realization that music sounds better |
| 45 | The Sound That Ends Creation | "I Hate ICE, I Don't Even Put It In My Water" | single | with air to vibrate, |
| 46 | Archspire | "Drone Corpse Aviator" | single | not with shrieking metal pressed against your skull. |
| 47 | ONI INC. | "Life Setting: Ultra Nightmare" | Life Setting: Ultra Nightmare +1 | The knot of dubious and nefarious reasons a system might have for directing your attention |
| 48 | UMSY | "ТВОЙ ЛЮБИМЫЙ СТРАХ (prod. by takizava)" | single | can be sliced by insisting that it only answer questions you yourself pose, |
| 49 | Shogun | "R.I.P." | single | and requiring it to have reasons for its answers, |
| 50 | Easy Mccoy | "Triumphant" | single | and being willing to dismiss both underresponsive and underexplicated responses. |
| 51 | miraie | "liar" | single | How would Facebook look if it were actually trying to help you maintain emotional connections with your friends |
| 52 | Jutes | "Danny Phantom" | single | during scattered minutes or global pandemics when you can't do that with your hands or breath? |
| 53 | Gabe James | "FLICKER" | single | Hold it to that standard; |
| 54 | Peakes | "Day and Age" | single | meter your trust by how little it approximates that ideal. |
| 55 | Issy Wood | "Disaster / Lucky" | single | Algorithms don't recommend anything, that's disingenuous sleight-of-word, |
| 56 | Molly Sandén | "Vi ska aldrig gå hem" | single | a technical euphemism deceptively allowed to absorbed some spilled meaning it was sitting in |
| 57 | Francisca Valenzuela | "Castillo de Cristal" | single | until it squelches just moistly enough |
| 58 | Nerea Rodríguez | "Papallones" | single | that you could mistake it for motive. |
| 59 | Emm Gryner | "Drove Home" | single | They can't, and thus are only honest when they admit that they don't. |
| 60 | Orchards | "Drive Me Home" | single | Trust begins with honestly, and honesty with self-awareness. |
| 61 | EEVAH | "Take Me To Bed" | single | What algorithms can do is organize information-patterns, |
| 62 | Kate Clover | "CRIMEWAVE" | single | and thus attach collective context to individual moments. |
| 63 | Charlotte Sands | "Every Guy Ever" | single | The best ones can connect your questions to answers assembled out of pieces that no one person had all of. |
| 64 | Zuzu | "Lie to Myself" | single | They can tell you that fans of Lauran Hibberd disproportionately also like Zuzu. |
| 65 | Sam Fender | "Spit Of You" | single | But don't let them tell you this unless it something you want to know. |
| 66 | Arliston | "Centre" | single | Don't let them, or me, tell you that you should listen to anything, no matter how disproportionately English |
| 67 | The Sherlocks | "World I Understand" | single | or any other dilute quality you think you're supposed to love. |
| 68 | Vampires Everywhere! | "Timebomb" | The Awakening 5 | The pale fiends in slick capes with sharp teeth |
| 69 | Ludovico Technique | "I Was" | single | can be dispersed by throwing a handful of cheap candy into the everlurking dark. |
| 70 | Seatemples | "Weltschmerz" | single | The ones who are really intent on getting your blood |
| 71 | KOKOKO! | "Donne Moi" | single | will sell you a bleeding machine to take it in a constant addictive flow, |
| 72 | Pongo | "Começa" | single | but you can wait until they offer you one for free, |
| 73 | Monoswezi | "Woshanda" | single | and then you can leave it in the box until you need some diagnostic it provides. |
| 74 | Leila Kayondo | "Binyuma" | single | It's not always this simple, |
| 75 | Sabrina | "Catastrophe" | single | but it's not always not this simple, or not this beautiful. |
| 76 | Sifaeli Mwabuka | "Nimemuona Bwana" | single | The debilitating lie in the idea that there is music you should hear next |
| 77 | Sun-El Musician | "Amateki" | Amateki / Ululate 2 | is its implication that you are not surrounded, in the most literal cosmological sense, |
| 78 | Aimo | "Osingolio" | Evolution II | with effectively infinite nascent joy. |
| 79 | Dodsferd | "Aeon" | single | Do not just stand here waiting to be exterminated by the next recommended meteor. |
| 80 | Earlyguard | "Natural Selection" | Distracted | Insist on being shown its trajectory through space. |
| 81 | Abstract Void | "Forward to the Past" | Wishdream | Assign it an orbit so that you can find it later, if you need a jagged chunk of space rock, or a way to blast a hole into oblivion. |
| 82 | The Ultimate Heroes | "The Day You Said Goodnight - Pop Punk Version" | Punk Rock Covers, Vol. 5 | And then go back to your own purposes, and your own preliminary regrets. |
| 83 | Buried Realm | "He's Back (The Man Behind the Mask)" | single | All masks are thin layers of protective simplification |
| 84 | First to Eleven | "I'm with You" | single | over the complicated faces you're trying to find. |
| 85 | The Animal In Me | "Hey Ya!" | single | What makes love the exception? |
| 86 | Christine and the Queens | "Freedom" | Joseph 2 | It's not the only good thing we've got, but all the good things are ways of saying |
| 87 | AG | "One" | single | that we've been missed by a million meteors in a row, and as long as this streak holds, we get to carry each other |
| 88 | SOM | "Everything I Wanted" | single | into the night and then back into the light again, by just holding on long enough. |
| 89 | 2WEI | "What a Wonderful World" | single | The bright blessed day, the dark sacred night: |
| 90 | The Big Deal | "Amaranth" | single | both of these are opportunities to not just pause or play the same relentless unproductive revolution, hoping that this time your tragic inertia will precess in the shape of a tiny perfect flower. |