| 1 | Temperance | "Diamanti" | Diamanti | The best rock band in the world, at the moment, is a melodic power-metal quintet from Milan, Italy. |
| 2 | Aephanemer | "Le Radeau de La Méduse - French Version" | A Dream of Wilderness | It must be exciting to be them, but then it's exciting to be anybody, |
| 3 | The Last Martyr | "Freaking Out" | single | alive to hear the sound of your own voice |
| 4 | Roses Unread | "Creatures" | single | among the vibrations that encase your head. |
| 5 | Theatres Des Vampires | "Lady Bathory" | In Nomine Sanguinis | We are the descendants of demons |
| 6 | Rage Of Light | "Breaking Infinity" | single | and illusions, |
| 7 | Beneath The Silence | "Fear" | single | shaped into resonant vessels |
| 8 | Dust in Mind | "Speak For the Voiceless" | Ctrl | by our own yearning, |
| 9 | MIST | "SHADOW GAME" | single | and then flung into the first available maelstrom |
| 10 | Converge | "Lord of Liars" | Bloodmoon: I | or the next. |
| 11 | Temperance | "The Night Before the End" | Diamanti | Master one second of the day and you establish recurring joy. |
| 12 | Lovebites | "Nameless Warrior" | single | Take a single breath |
| 13 | GARNiDELiA | "Live On!" | Duality Code | and you hold one atom of everything: |
| 14 | LiSA | "白銀" | 明け星 / 白銀 6 | substances of metric value, |
| 15 | Fiore | "BRAVE" | single | arguments against surrender |
| 16 | BiS | "スモーキン・ビリー" | single | formulated in indecipherable clamouring truths, |
| 17 | //ネコプラ// | "冒険少女" | single | indexes of the beginnings of unabandonable stories, |
| 18 | NEMOPHILA | "HYPNOSIS" | single | manifestos for and against sleep and |
| 19 | AdFicTioN | "New Awakening" | single | memoirs of everything that came after everything. |
| 20 | TsuShiMaMiRe | "わたしワイン" | 酒まみれ | You have a corpus of ideas you have carried with you |
| 21 | AprilBlue | "臨海鉄道" | いつかの海 | about how tall you are, |
| 22 | Hikicomoteikoku | "Asaki-Asamashi" | single | and what you are willing to oppose under pressure, |
| 23 | MAN WITH A MISSION | "yoake" | single | and what you would show up to stand guard over |
| 24 | Novelbright | "ワンルーム" | single | during moments of apparent threatlessness. |
| 25 | Rhythmic Toy World | "ヒトノカケラ" | EFFECT | These things comprise your body in a moral dimension |
| 26 | UVERworld | "AVALANCHE" | single | projected dimly into this one. |
| 27 | Same old Same old | "Walk slowly" | Our father 4 | Movement in the one we see corresponds only erratically |
| 28 | Sunrise Skater Kids | "Dear Maria, Count Me In - Japanese Version" | single | to elevations and coordinates in the one where we wished to be judged, |
| 29 | Mr.FanTastiC | "グッドラック" | single | and this disconnection is how moral behavior is a choice instead of an impulse, |
| 30 | Nergard | "Blood Red Skies" | Blood Red Skies +1 | and its margin of error is how moral systems become calculus instead of algebra. |
| 31 | GIANT | "Let Our Love Win" | single | You might imagine that all the chords have been played in all the relevant orders by now, |
| 32 | Crashdïet | "No Man's Land" | single | leaving innovation to heresy, |
| 33 | The Ferrymen | "One Word" | single | and this is as wrong as any scriptural conviction |
| 34 | Fugatta | "The Dark Land We Belong" | The Darkest Planet | about what must be true |
| 35 | Arjen Anthony Lucassen's Star One | "Fate of Man" | single | written in the belief that we can arrive at a silent point in the universe |
| 36 | Temperance | "Fairy Tales for the Stars" | Diamanti | and then stop. |
| 37 | Cynic | "In a Multiverse Where Atoms Sing" | single | But there is no silence. |
| 38 | Cosmophobe | "Distant Discovery" | single | All moral and aesthetic reasoning depends on this reality, |
| 39 | Persefone | "Merkabah" | single | either directly, in grotesque appeals to beauty, |
| 40 | Obscura | "Forsaken" | A Valediction | or implicitly, by constructing elaborately failed attempts |
| 41 | Nightrage | "Nauseating Oblivion" | single | to infer its negation. |
| 42 | Marillion | "Be Hard on Yourself (I) The Tear in the Big Picture" | Be Hard on Yourself 3 | The moment when someone comes to believe that the best band in the world is you is unmanageable, survivable only because it passes. |
| 43 | Varjola | "Fobia" | single | Belief is the most dangerous of the eleven irreducible fears, |
| 44 | Celeste | "Des torrents de coups" | single | but also the one that tastes the most like figs and aplomb. |
| 45 | Messa | "Pilgrim" | single | Journeys towards the intangible |
| 46 | Converge | "Viscera of Men" | Bloodmoon: I | navigate inhabited lands. |
| 47 | Swallow The Sun | "This House Has No Home" | Moonflowers | The sentries who ask your destination |
| 48 | Dakhma | "The Rite of Dominion (Shehrevar)" | Blessings of Amurdad | are plaintively admitting to you that they don't know |
| 49 | Ars Magna Umbrae | "Metempsychosis (Transmigration of the Soul)" | Throne Between Worlds | whether to guard or desert their own. |
| 50 | Frostnatt | "Om Vinteren" | Vinterens Kaldeste Natt | Those cities are waystations, |
| 51 | Thy Worshiper | "Straszno Tu" | Bajki o Staruchu | occupying interstitial spaces between assembly and disintegration. |
| 52 | HÖST | "Concrete of Mankind" | 1994 5 | Of course most of what we build is exactly like this, |
| 53 | Proscriptor McGovern’s Apsû | "Prana Therion Akasha" | single | hope cantilevered artfully over inevitability. |
| 54 | Violet Cold | "Sahasrara Destruction" | single | This is why new cities always smell initially unconvincing, |
| 55 | Sierra Leona | "Oro" | Oro | until the pilgrims are diluted by travelers, |
| 56 | Kuve | "Alebrije (Edición Neón)" | Castillos de Neón | and allegorical boulevards sprout sidestreets with mercifully specific food stalls. |
| 57 | Astropålido | "Aun Queda para Largo" | single | The dimming memories of when this was all empty space |
| 58 | Sergio Dalma | "Gigantes" | Alegría | will be replaced by dimming memories of when everything in it was |
| 59 | Straatligkinders | "Dapper" | Dapper +1 | declamatorily designated in the same modernist font. |
| 60 | Sdala B | "Phambili" | Ngiyazifela Ngawe | The autocrats who write the regulations against the corruption of serifs and their foreign inclinations |
| 61 | Moojo | "Lost Is Lost" | single | have a simplicity in their mind that they want to believe describes a possible state of the world, |
| 62 | Van Baxy | "Siratou do" | single | the same way you might wish to declare away the time between sleepfall and waking, |
| 63 | Bobomfanawepiki | "Kukude" | Look at me | or any other contested space. |
| 64 | Tanya Tagaq | "Colonizer" | Colonizer +2 | The colonizer's fallacy is not that they bring civilization, |
| 65 | Safree | "Km de sal" | single | but that civilization is a thing that can be carried from one place to another, |
| 66 | JVNA | "Sins" | Hope In Chaos | or that forgiveness is a quality of accounting. |
| 67 | Loviet | "Pull Up" | 777 | A phone rings in the middle of the night, |
| 68 | Peakes | "Fascination" | Peripheral Figures | because city gates are guarded with apps now, like anything else, |
| 69 | Terror Jr | "After All" | Road To Grapeness | and the sentries tap OK and meet you at the gate. |
| 70 | Dessa | "LYTP" | single | Kingdoms come and kingdoms go. |
| 71 | Weakened Friends | "The Last Ten" | Quitter | That much we accept as routine. |
| 72 | Mattiel | "Jeff Goldblum" | single | But you and I, we overcome inertiae to meet here. |
| 73 | Fickle Friends | "Yeah Yeah Yeah" | Yeah Yeah Yeah 6 | I forget whose turn it is to be the sentry, |
| 74 | Dead Posey | "sorry i'm not dead" | single | whose to apologize for arriving in the middle of the night or a history. |
| 75 | WARGASM (UK) | "Scratchcard Feeling" | single | One of us will try awkwardly to appeal to grace. |
| 76 | Bob Vylan | "GDP" | GDP +1 | One of us will start to ask "Where have you come from?", |
| 77 | glaive | "prick" | single | and then change our mind to "What brings you here?", |
| 78 | RILEY THE MUSICIAN | "Highway 65" | Montana | and then, looking past us into the darkness of the road that must have, wish we had had the courage to say "Where are you going?" |
| 79 | James Colt | "Finding Myself" | single | All of these mean "What are you running from?", |
| 80 | Smrtdeath | "sober" | sober +2 | but only the last one means "And can we run from it together?" |
| 81 | fish narc | "you saw me on the bus" | single | We fall in love with bodies in motion, |
| 82 | Sorry X | "Hit My Line" | single | humming and convulsing strings, |
| 83 | snow ellet | "Cannonball" | single | the retrospective trajectories of the things that came clanking gleamingly up to our gates in ridiculous destroyers' armor. |
| 84 | OWEL | "So It Goes" | single | The definitive characteristic of hope |
| 85 | Tomás Urquieta | "Oblivion" | El David Muerte | is that it describes things that have not yet happened to us together. |
| 86 | Dahlia's Tear | "Tomb of Forgotten Times" | Adrift on the Edge of Infinity | Loneliness is a line on a map that describes a potential relationship in symbols by becoming them. |
| 87 | Swallow The Sun | "This House Has No Home - Classical Version" | Moonflowers | There were cities made of illusions, |
| 88 | Converge | "Daimon" | Bloodmoon: I | populated by demons, |
| 89 | Temperance | "Follow Me" | Diamanti | and they had this same conversation in the middle of a illusory demonic night, |
| 90 | ASIAN KUNG-FU GENERATION | "ソラニン - From THE FIRST TAKE" | single | in front of a gate we will improvisationally stipulate, in order to understand their reluctances and restlessnesses and lonelinesses as versions of ours. |
| 91 | Rioghan | "Chandelier" | Covers II 3 | It matters whether they actually were, but not to us, here at the edge of their city. |
| 92 | Violet Orlandi | "In The Air Tonight - Metal Version" | single | We have waited for this moment all our lives, |
| 93 | Saint Asonia | "Blinding Lights" | single | or since the last city turned out to be cold and empty. |
| 94 | Conquer Divide | "Bad Habits" | single | This city full of flames will at least be neither of those things. |
| 95 | The Haxans | "Scary Monsters (And Super Creeps)" | single | Opening the gates allows the city and the world to seek a new equilibrium between curiosity and fear. |
| 96 | First to Eleven | "Iris" | single | We give up safety to find each other. |
| 97 | Potty Mouth | "Flat Top" | 1% Happier 4 | The saints and the cynics are the same demons in different clothes they stole from whatever city they came from to be here. |
| 98 | PG Roxette | "Nothing Else Matters" | single | For a moment we are perfect, facing each other, not yet having chosen our roles, each writing our stories up until this moment when they meet. |