| 1 | Karen Zoid | "Yo Yo" | single | The advice to do what you love |
| 2 | LP | "Long Goodbye" | Love Lines 4 | is not for your benefit, |
| 3 | Olivia Rodrigo | "love is embarrassing" | GUTS | it's for our protection. |
| 4 | Meet Me @ The Altar | "Strangers" | Strangers | Love of your real goals is the only effective force |
| 5 | Conquer Divide | "PRESSURE" | Slow Burn | that reliably counteracts all the expedient incentives |
| 6 | Blame Me! | "Always Misplaced" | Always Misplaced +2 | to optimize your efforts for their intermediate rewards. |
| 7 | Calva Louise | "Square One" | Square One +3 | Generative AI is not dangerous because it's sometimes wrong, |
| 8 | The Joy Formidable | "The Hat" | single | and it isn't even most dangerous because the AI "itself" always doesn't care, |
| 9 | Air Drawn Dagger | "Stigmata" | single | it's dangerous because it appeals most to humans who wish to have done |
| 10 | End Street | "Sayawan Na" | single | things they don't want to do, |
| 11 | Pipiolas | "No Soy Un XoXo" | No Soy Un XoXo +3 | and it gives them unmanageable and uncritical superpowers. |
| 12 | shakeitmila | "Resaca de Verano" | single | You don't want to read averaged extrapolations elicited by "content owners", |
| 13 | KANGA | "Midnight Horses" | Midnight Horses 5 | you want to read burrito critiques by somebody emotionally invested in the future of burrito eating in a city you share, |
| 14 | LYRA | "Lovers" | single | and in cities and their food as social systems. |
| 15 | Louis The Child | "Stay With Me (with Absolutely)" | single | A bad writer who really loves burritos |
| 16 | Morgan Saint | "It Hurts To Be Human" | single | and wants you to also love them |
| 17 | Can of Bliss | "petty debris" | MYRTLE BROADWAY & THE BIG BANG THEORY | is already and always better than any language model, |
| 18 | Tkay Maidza | "WUACV" | WUACV +2 | but also, the bad writer who wants you to love burritos will learn to be a better writer |
| 19 | Tinashe | "Treason" | BB/ANG3L | because they have to in order to persuade people. |
| 20 | CELESTE | "With idle hands" | With Idle Hands 2 | The language model will never eat a single bite of its own, |
| 21 | Harms Way | "Undertow (feat. King Woman)" | single | or care about a single bite of yours. |
| 22 | Kvelertak | "Krøterveg Te Helvete" | Endling | It will refine, at best, towards an unobjectionable anonymity. |
| 23 | Uada | "The Abyss Gazing Back" | Crepuscule Natura | The tiny, sinisterly glowing eyes in the menacing abyss always turn out to be ours. |
| 24 | Mānbryne | "Piach i niepamięć" | single | You are complicit if you facilitate joylessness. |
| 25 | Morokh | "Coma" | Insomnia | You are complicit if you direct collective action towards the likelihood of facilitating joylessness. |
| 26 | Mephorash | "I Am" | single | You are complicit if you are not willing to stand up, as routinely as necessary, |
| 27 | Wolfheart | "Iku-Turso" | single | and say "Wait, what are we doing here? And why?" |
| 28 | Shylmagoghnar | "Follow the River" | single | You improve the future when you increase tangible joy, |
| 29 | Finsterforst | "Kapitel IV - Katharsis" | Jenseits | but this is perilously circular: |
| 30 | Kuggur | "Muhit al ahlam" | Outlived | if you are writing about the qualities of a particular burrito |
| 31 | Claudia León | "Phantom Of The Opera - Radio Edit" | single | or the twittery cadences and charming accents of a specific EDM pastiche, |
| 32 | Secret Rule | "Disorder" | single | then all you can do is care. |
| 33 | ExWHYZ | "NOT SORRY" | single | The generative abstraction removes you from this moment, |
| 34 | AIBECK | "Pink Chain" | single | and thus removes intent and motivation and tangibility. |
| 35 | Afterglow | "燦々" | single | Making tools that can only be used to increase joy is much harder |
| 36 | RAISE A SUILEN | "DANCING DARING" | single | than putting the texture of perfect carnitas into evocative individual words. |
| 37 | WAGAMAMA RAKIA | "Vertex" | single | At worst, the introduction of nominally connective mechanism between humans inherently defeats its own purpose. |
| 38 | Roselia | "Call the shots" | single | But at best, these machines are ours, and we do not have to use or design them to amplify our worst destructive selves. |
| 39 | Poppin'Party | "新しい季節に" | single | Most of the vectors that can be used to separate people |
| 40 | 熊田茜音 | "Take My Chance (feat. 樋口 楓)" | Another Self | can also be trivially repositioned to present those people with a new shared experience. |
| 41 | yutori | "安眠剤" | 夜間逃避行 | The same algorithms that produce anonymous "recommendations" |
| 42 | SWANKY DANK | "Everything" | single | can reveal the collective knowledge of sometimes-unseen communities, |
| 43 | WANIMA | "夏暁" | single | and thus help them to be seen. |
| 44 | -真天地開闢集団-ジグザグ | "Stay with me" | single | The same surreal techniques that fabricate hallucinatory images |
| 45 | FTISLAND | "Sage" | Sage 6 | or spuriously plausible essays |
| 46 | KLEAR | "เหลือแค่ลืม" | single | could be used to guess at the consensuality or likelihood of opinions real people actually hold, |
| 47 | CLAIM | "Hermoso Caos" | single | or the forms in which they are explained. |
| 48 | Hreimur | "Þar sem himinn ber við haf" | single | It's not that generative AI isn't an unexpected technological advance, |
| 49 | Vistas | "Bad Idea" | single | it's that, as is often particularly the case with unexpected advances, |
| 50 | Belako | "Dump" | Sigo Regando | it's one that is temporarily dragging us in the direction of its own inertia |
| 51 | Sundara Karma | "Wishing Well" | Wishing Well +2 | by our hair tangled in its gears. |
| 52 | MAYKIDZ | "The Signs" | The Melodymatic Punchlines | The first punchlines are never the end of the most interesting jokes. |
| 53 | Six Going on Seven | "Sexy Like the Titanic" | single | We are the hapless creatures who sometimes need disaster to explicate an obvious truth, |
| 54 | Tenchio | "ONSET" | single | but we do persist. |
| 55 | Grayscale | "Not Afraid To Die" | single | We write a new version of "When We Were Young" and have the courage to not call it "When You Were Old". |
| 56 | Do Not Delay | "Incomplete" | single | We start sentences before we know how they will end, |
| 57 | Ossian | "Továbblépni" | single | and try to listen to what happens to our undecided voices: |
| 58 | Nitrate | "All The Right Moves" | single | how they linger along eroded contours, |
| 59 | Edge Of Forever | "Where Are You" | single | how they echo at first with tentative repetition, |
| 60 | Frozen Rain | "One Mile from Heartsville" | single | how they twirl when they think nobody is listening, |
| 61 | Florian Grey | "Destroying Kingdoms" | Destroying Kingdoms | how they roar to get our attention again. |
| 62 | The Dark Atom | "Reconstruct" | single | Pick an endeavor whose outcome matters to you more than its process, |
| 63 | Tempus | "Red Flag" | Vida Colorida | and then learn whatever you have to learn to convince the process that you are right. |
| 64 | Kuggur | "The Misanthrope" | Outlived | This is how you apply love to industry. |
| 65 | PreHistoric animals | "He is number 4" | He is number 4 +2 | This is how you decide if a new tantalization is empowerment or distraction |
| 66 | Hats Off Gentlemen It's Adequate | "Sold The Peace" | The Light of Ancient Mistakes | or commodified nihilism. |
| 67 | WARGASM (UK) | "Bang Ya Head (feat. Fred Durst)" | Bang Ya Head 2 | What are we doing here? We're kicking in something. A door? Maybe. |
| 68 | Can of Bliss | "Some Chords/UR NOT GOING ANYWHERE" | MYRTLE BROADWAY & THE BIG BANG THEORY | It might also be a wall that we'll need help to get our foot back out of. |
| 69 | The Haunt | "Overdose" | Dead On Arrival 6 | Sometimes a hole kicked in a wall is a portal to freedom; |
| 70 | Katelyn Tarver | "Ignorance Is Bliss" | Ignorance Is Bliss +3 | sometimes you find out what was behind it and understand why. |
| 71 | SUDS | "Hard For Me" | Hard For Me +1 | If you love the room this room could be, |
| 72 | CMAT | "Stay For Something" | Stay For Something +3 | you will learn what it takes to remove and rebuild walls |
| 73 | Joan Osborne | "I Should've Danced More" | Nobody Owns You | so that our ceilings will not have fallen down on us, |
| 74 | Kristin Hersh | "Bewitched Reruns" | Clear Pond Road | and how our time can be spent differently within constructed boundaries. |
| 75 | Professor Green | "Nervous - feat. K Koke, RA (Real Artillery)" | Nervous 4 | Fix up how you're moving. |
| 76 | Mabhlukwe | "Leli ikhaya Lami" | Amabhinca | Listen like you care how you hear; that's a start. |
| 77 | QHUBINJA | "MALAVALAVA" | single | Make your next action worthy of the next song. |
| 78 | Mfiliseni Magubane | "Nabhala" | single | This is how you decide if you are dancing |
| 79 | Amavikelambuso | "Uvele abekisandla" | Amagwinya Ashisayo | or leading the way into an abyss or a trap. |
| 80 | Slikback | "NAGARE" | single | Draw a map like the destination is your own, |
| 81 | Ayesha | "V7" | single | and then follow it to see where you go. |
| 82 | Vince Clarke | "The Lamentations of Jeremiah" | single | This is all you need for today: |
| 83 | Caterina Barbieri | "Perennial Fantas" | single | songs, a walk, maybe a burrito before the storm comes; |
| 84 | Kuggur | "Ólafur í Hvarfi" | Outlived | another song, another step, until we get somewhere. |