For fans of JPEGMAFIA, Lil Ugly Mane, sound collage, and diary entries from the apocalypse, EVERYTHING BURNS! by Nakama. matches the schizophrenic psyche of our time with an instantly individual style of heavy hip hop.

For fans of Shearling, Julie Christmas, concept albums, and the rare prequel which actually meets or exceeds high expectations, Pt. 1 by Mildred adds depth to an already epic post hardcore love story by revealing its nihilistic underpinnings.

For fans of Cardiacs, Artificial Go, surrealist art of all kinds, and meeting the world’s negativity with a defiant whimsy, Business & Pleasure by Gumby’s Junk brings their unique brand of operatic post punk into a firmly bizarre, psychedelic environment.

For fans of Nine Inch Nails, Mamaleek, heavy electronic dance music, and an increasingly unserious existence in an increasingly serious crisis, Say Calm by Wreck and Reference stakes out a unique territory in heavy music to convey the crushing emptiness of a world with no future.

For fans of early Black Country, New Road, Unwound, the absolute deconstruction of shoegaze, and the thrill of a super villain origin story, the prophetically titled Mr Beast Death 2030 by the artist of the same name uses dissonant post hardcore to tell the story of slowly giving in to the cruelty of our environment.

For fans of Neurosis, City of Caterpillar, the more aggressive side of atmospheric black metal, and the realization that you live under the thumb of a death cult, Under a Gilded Sun by Malevich takes outrage at injustice to harrowing spiritual heights.

For fans of Slint, The Velvet Underground, constant, uncontrollable dissociation, and a lifetime of fumbled small talk, All It Takes for Evil to Prosper by Debris Bardot welcomes us into a life of alienation with their unique style of slowcore americana.

For fans of Saetia, Cime, math rock, and the metabolization of suffering into something meaningful, something worth experiencing, Corales EP by Corales shines a spotlight on the latent jazz influence hiding within emo to create a sound simultaneously warm, tender, and intense.

For fans of Tom Waits, Flooding, the more abrasive side of slowcore, and the abrupt realization of the gradual passage of time, Cleaning out the Empty Administration Building by R.J.F. observes life from the window of a bullet train, taking calm, collected notes as the station vanishes into the background.

For fans of Sleepytime Gorilla Museum, Melt-Banana, musique concrete, all things avant garde, and birdwatching, The Birds of Marsville by Friendly Rich provides a wonderfully weird field guide to all manner of fantastical flying beasts.

For fans of Swans, Caroline, ritual ambient, and the sum total of the energies of all living things, Kin by Fletcher Tucker provides an accompaniment to nature, skirting typical desires to encapsulate, augment, or supplant our environment and instead humbly functioning inside.

For fans of Peter Brötzman, Boris, grindcore, and the imminent end of the world in the most embarrassing way possible, Enter the Misanthropocene by Abhorent Expanse unleashes humanity’s most disgusting, self-serving impulses into an abstract, bizarre sonic landscape.

For fans of Stereolab, Orchestre Tout Puissant Marcel Duchamp, anticolonial action, and the use of joyous celebration to resist oppression, Land Back by The Myrrors deploys their blisteringly heavy brand of krautrock to rally us to the dance floor of liberation.

For fans of Ethel Cain, Lolina, crying in the club, and hedonism that never quite feels like we imagined, He by Lady Kabela takes us on an electronic journey to question our deepest desires.

For a generation condemned not to own their homes, their art, their labor, memories provide an immutable sort of ownership that may serve as our only comfort. This form of spiritual ownership we take of the spaces we remember comes to life on the soundscapes of Bliss by Alice Does Computer Music, an ambient electronic tour through moments which will always live as copies on the shelf of the mind.

For fans of The Caretaker, Infinity Frequencies, and the sort of quiet dystopia that sets in like a cool morning fog, All Lands and Customs Are Ephemeral by Tiocph uses broken transmission music to call attention to capital’s goal of optimizing all culture out of existence.

For fans of Red House Painters, Duster, and a particularly confessional form of bedroom emo, A Fear of Open Water by The Exit Bags addresses the nonlinear healing process from childhood trauma with the warm darkness of homespun slowcore.

For fans of Geese, The Strokes, power pop, and rock n roll with that menacing darkness lingering in the background, Way Too Much by Superstar Crush stands out among a crowded pool of indie garage rock talent.

This album could refer equally convincingly to any era of synthetic pop music, much of which was designed in turn to refer back to earlier traditions of danceable popular music or lyrical baroque pop. The references lead nowhere, pointing back to nothing, unprepared to find anything in the future.

For fans of Ulla, Still House Plants, 50s lounge jazz, and Lynchian horror, Balm by Ill Considered constructs a smoke-filled room dense with liminal anxiety. Improvised jazz licks ripple into a pool of deep, open bass frequencies, sucking us into a carefully curated world of static darkness.