September has arrived down here on the coast with a lot of rain, and intermittent sunshine: and with my hop plants due to harvest in the coming week or two, it definitely feels like autumn is here. Autumn also means the usual deluge of new releases, so this week’s /Tracks of the Month has expanded to thirteen tracks to take account of that.
You can find me DJing twice this month. Tonight is online on my semi-regular livestream /TheKindaMzkYouLike /039, and then on 19-September in London at Bruise Violet.
/amodelofcontrol.com now has a Patreon page, at this stage purely as a potential way of helping to cover the running costs of the site. There is absolutely no compulsion to do so: if you feel you can chuck a small amount to the site each month, that would be appreciated.
/Subject /Tracks of the Month
/Playlists 
/Spotify / 
/YouTube
/Related /Tuesday Ten/Tracks of the Month /Tuesday Ten/Index
/Details /Tracks this week/13 /Tracks on Spotify Playlist/13 /Duration/53:32
A quick explanation for new readers (hi there!): my Tuesday Ten series has been running since March 2007, and each month features at least ten new songs you should hear – and in between those monthly posts, I feature songs on a variety of subjects, with some of the songs featured coming from suggestion threads on Facebook.
Feel free to get involved with these – the more the merrier, and the breadth of suggestions that I get continues to astound me. Otherwise, as usual, if you’ve got something you want me to hear, something I should be writing about, or even a gig I should be attending, e-mail me or drop me a line on Facebook (details below).
/Track of the Month
/Author & Punisher
/Titanis (feat. Kuntari)
/Nocturnal Birding
The upcoming album from Tristan Shone has come with a bit of a crushing bang. Being a one-man/machine artist, collaborations have become a little more common in their work in recent times, and seemed to have broadened horizons even further beyond the already wide scope of the project. But lead single Titanis takes things to another level. Collaborating with Indonesian tribal-experimentalists KUNTARI, as well as the first recorded sign of Doug Sabolick on guitars in the project, has resulted in a monstrous bulldozer of a track that is Shone’s best work in years and years. Like Neurosis remixed by Godflesh, with the volume turned up to eleven, this is an astonishing track, and I can’t wait to hear what else is to come with this album that apparently is full of “birdsong” and a focus on environmental issues.
/Nova Twins
/N.O.V.A.
/Parasites & Butterflies
There seemed to be something restrained about earlier singles from the new Nova Twins album, as if the extensive promotional cycle for their previous material had wiped them out. And then, they came roaring back with the mighty slam of N.O.V.A., a glorious, rap-rock track that comes with boasts, bravado and gang vocals that make the track absolutely irresistible. One of my favourite singles of the year so far.
/Harpy
/Last Time
One of Harpy’s latest tracks – apparently part of a “new phase” – and this track leans heavy on the dark sexuality and less on the bruising metal-influences that now permeate the live show. A sultry, black-tinged groove that is a paean to unbridled lust and abandon, the slow-headbang of the rhythm is interrupted by the stomping chorus and a rare guitar solo. Instantly a highlight of their live show at Infest, I’m now really intrigued to see where else Harpy is headed.
/Anna von Hausswolff
/Stardust
/ICONOCLASTS
It feels like it’s been an awfully long time since there was last new music from Anna von Hausswolff, and indeed it has – All Thoughts Fly, an album of entirely pipe organ music, was released in 2020, while the towering power of Dead Magic (the #2 album on this site in 2018) is now seven years old.
So ICONOLASTS is long overdue, perhaps, and two tracks were released when it was announced. The Whole Woman features no less than Iggy Pop, but for me Stardust is the better track. Like her previous work, it sounds like it has been recorded in a large space, and sounds absolutely huge. It is apparently a song about discarding current convention and starting anew amid a crumbling world, and it certainly is delivered with startling passion and power.
/SARIN
/TERMINAL STAGE
/Searching Hell
You can forgive Emad Dabiri for not releasing a SARIN album since 2019 – after all, he does have a label to run and a bunch of other projects to contribute to as well. The first tracks from Searching Hell suggest that this album is going to be one to be played loud. TERMINAL STAGE, complete with news anchor samples talking about the high murder rates in the US, is a brute of an industrial track that is in full-on, dancefloor-destroying mode from the opening seconds. At just four minutes long, too, it is a masterpiece of precision and economy, something some of Dabiri’s peers could do with heeding sometimes.
/Blush Response
/Ego Death
/Ego Death
A rather shorter gap since the last album from Joey Blush – the excellent SPRAWL_ came out just a year ago – and there’s clearly been no reduction in quality. There has been an evolution of his sound again, though – the lead track Ego Death throws in savage guitar/guitar samples, a distorted, industrial-noise edge to the mix, and snarling vocals too, and this ripping track, which at points borders on fearsome industrial metal, is quite the introduction to what’s to come.
/The Hunger
/Cut the Skin 2.0
Not heard of this apparently long-lived Houston industrial-rock band before, but going on this fantastic track which came my way recently, I’ll be checking out some of their other material too. Very much of the old-school industrial-rock style from the 1990s (which is no problem around here, I can tell you), this is a supercharged track complete with processed guitars, big choruses and pounding beats. They also did a great cover of A Split-Second’s classic Rigor Mortis a few years back, too, it turns out…
/Prolapse
/Cha Cha Cha 2000
/I Wonder When They’re Going To Destroy Your Face
While I saw the reformed Prolapse a good few years back supporting Mogwai, I wasn’t expecting them to record anything new: and indeed I didn’t know anything was coming until I read an interview with them on The Quietus last week. Happily, twenty-six years on from their last new material, the familiar tension of the band remains. Vocalists Mick Derrick and Linda Steelyard often sound as if they are providing vocals to two competing songs, while the multiple guitars work to create fault lines that might crack songs open at any moment.
Anyway, they occasionally all pulled together in the same direction, such as on the glorious Autocade from 1997 album The Italian Flag, for example, and Cha Cha Cha 2000, one of the singles from the new album, shows the band have no interest in indie hits any longer: it spirals out into about three or four songs at once within the first minute.
Also, I Wonder When They’re Going To Destroy Your Face is the best album title of 2025.
/Scorpion Milk
/Another Day Another Abyss
/Slime Of The Times
A new solo project from Mat McNerney (better known to many as Kvohst, the vocalist of the much-missed Beastmilk – if you don’t know them, go check out Climax and then rejoin me here – and later evolution Grave Pleasures, as well as various Black Metal projects) sees him back exploring what he calls “Apocalyptic Post-Punk”. If you’re familiar with those projects, the sound of this won’t come as a particular surprise – it’s electronically-enhanced post-punk that is sleek and memorable, with another of his great choruses, and perhaps additionally a little world-weariness as McNerney becomes another to be writing songs about the end of the world as the outside world goes to shit.
(A shame Peaceville couldn’t put the correct track title on Bandcamp, though)
/PUPIL SLICER
/Fleshwork
/Fleshwork
Try as I might, I couldn’t really get into the somewhat experimental second Pupil Slicer album. Going on the vicious title track from their upcoming third album, I suspect Fleshwork will be more my kind of thing. “WHAT HELL IS THIS” roars vocalist Kate Davies during a track that appears to be doing it’s best to destroy everything in the path of it. Apparently the (absolutely gigantic) riffs were initially offered to HEALTH for a collaboration – their loss, as this is the best, and most bracingly direct, track from the band yet.
/Ventenner
/Ultraviolet
/Slow Dissolve EP
The latest material from Ventenner is a new EP coming in the autumn, and the first track from it is a brooding, heavy track that pushes the guitars to the forefront, at points edging toward industrial-shoegaze such is the density of the mix. Charlie’s vocals are not pushed to their limits as he often does, instead a richer, more melodic sound and it, perhaps unexpectedly, suits him well. An solid return.
/Antigen Shift
/Because I Want
It’s intriguing to see how Nick Theriault (and nowadays Jairus Khan too) has evolved and developed this project, which in the earlier days was more restrained, experimenting more with subtle electronic textures, but still no less dark. The most recent material has seen them move into harder, more punishing sounds, and Because I Want is a perfect example of that, a steady, hard-edged rhythm providing a base for all kinds of sharp synths to dominate the mix. There’s even an exciting, almost slow-motion drop amid the precise sounds. Is there an album coming? I hope so.
/Bill Leeb
/Neuromotive (Sehr Geil One Mix by Rhys Fulber)
/Machine Vision
As great as Front Line Assembly remain live – their show at Corporation in Sheffield in April was an entirely-electronic show (i.e. no guitars) that played a few tracks I’m not sure I’d ever heard live before – it has been notable lately just how few, if any, tracks from the last couple of albums that are aired. To be honest, I’m happy that way, the band having hit a bit of a lull in recent years that have made those last couple of albums…ok? Bill Leeb’s first solo album last year, though, changed the focus a bit and his work sounded better than it had done in a while, and now there’s an impressive remix EP to accompany it.
The pick of the tracks, though, is this Rhys Fulber remix. As I Die: You Die noted last week, this is a thumping throwback to the FLA of our youth, where their evolution of cyberpunk-infused, electro-industrial hit it’s apex. Rhys teases even more wattage out of the best track on Model Kollapse, making the drum pattern kick that much harder and bringing the synths to the forefront. Expect to hear this on industrial dancefloors.