By: Gordon Dahlquist

XTC’s “Respectable Street”: a very English anthem of Ah, Go Fuck Yourself.

By: Greg Rowland

Jilted John’s “JIlted John” : parodic yet profound.

By: Stephanie Burt

Altered Images’ “Happy Birthday” — should we trust its promise of happiness?

By: Elina Shatkin

Marianne Faithfull’s “Broken English” — an excoriation of all ideologies?

By: Douglas Wolk

Family Fodder’s “Savoir Faire” — not a hostile gnarl, but a joy.

By: William Nericcio

LAND OF THE LOST — when Sid & Marty Krofft ruled the airwaves.

By: Devin McKinney

Suicide’s “Frankie Teardrop” — nihilism with a hungry heart.

By: Joanne McNeil

Gary Numan’s “Metal” — what, exactly, is a “mallory heart”?

By: Mark Kingwell

Soft Cell’s “Tainted Love” — New Age blues, and bliss.

By: M.R. Sauter

THE GREAT BRITISH BAKE OFF

By: Annie Nocenti

MARKS ON WALLS. Messages to no one and everyone.

By: Mandy Keifetz

Beneficial microbes: Think of them as Pious Young People.

By: Chris Spurgeon

WALLACE AND GROMIT. Brilliant, thrilling… and so innocent.

By: Deborah Wassertzug

Vegetarian meatballs with black rice, from a restaurant that no longer exists. Where are they now?

By: Evan Narcisse

The videogame REZ — an idealized vision of cyberspace.