High summer is always a bit of a weird one for new releases: it’s the silly season while bands are playing festivals and travelling vast distances to do so, so new songs take the back burner a bit. But maybe it’s just me, but it seems the quietest it has been for new music in some years.
/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 
/Deezer / 
/YouTube
/Related /642/Tracks/Jun-26 /Tuesday Ten/Index
/Details /Tracks this week/10 /Tracks on Deezer Playlist/6 /Duration/28:00
That said, autumn releases are now beginning to trickle through, and with a Bandcamp Friday this week, maybe that will be the trigger for more.
Anyway: here’s this month’s best or most notable tracks to consider.
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 above).
/Track of the Month
/Purest Form
/ANIMAL
/RESISTANCE
A band that describe their new single as aiming for “White Zombie meets Underworld” is going to immediately have my attention. An angry LA trio, their music is absolutely one of resistance to a world shifting ever-rightwards, as more and more freedoms begin to be eroded, and all the while their home city seems to be reeling from disaster after disaster too.
ANIMAL is three minutes of that fury encapsulated, as vocalist Story Beeson barks their vocals at breaking point, as if they are straining every part of their body to be heard, while thumping industrial beats give added urgency and thick, nasty riffs add a savage intensity. This is fucking great.
/Damage Control x OHMElectronic
/Manifesto
For the latest collaborative Damage Control single, they’ve joined forces with Chris Peterson and Craig Huxtable of OHMelectronic for what is their best track yet. A slow, brooding track that examines the sense of self in a world of disinformation and manipulation, it is forceful and furious, attempting to gain some agency in an era where many seem to be willing to give it away.
Two things should be mentioned as a result of this track, then: it appears from other posts that this heralds a new phase from OHMelectronic, with new material of their own seemingly on the way. The other? This site uses no Generative AI, everything is written by me, and at no point will it ever use Generative AI – which includes featuring music made by AI.
/Twin Temple
/Haunt Me
/Doomed Lovers
Everyone’s favourite Satanic doo-wop duo have seen their profile raised enormously recently, thanks to Charley Crockett kicking them off his tour (did his people do no research at all?), and with a new album announced recently, they made their late-night talk show debut this week. As well as being interviewed, they also performed this song on The Daily Show.
Haunt Me is a lush, dramatic song: a dark love song that holds nothing back, and as usual is dominated by Alexandra James’ powerful voice, and as that interview suggests, there’s without a doubt a deep reverence for their influences in blues, soul and country, but they’ve definitely found their niche and run with it.
/Scene Queen
/METALICIOUS (feat. Left to Suffer)
/METALICIOUS EP
Since the outstanding Hot Singles In Your Area album, there’s been a handful of one-off singles that felt experimental, as if they were trying out new sounds and styles without committing to anything. The fierce METALICIOUS feels like another of those to an extent, but hits very hard indeed, featuring deathcore band Left to Suffer as they whip up an almighty storm as they celebrate the cathartic rush of losing your shit in the moshpit.
/BESTIAL MOUTHS
/CONJURE
/DEAD LINES
The first new track from BESTIAL MOUTHS in a little while is, as per usual with this artist, A Lot. Lynette Cerezo has once again worked with Brant Showers (∆AIMON/ SØLVE), but also this time Alex DeGroot mixing it, and there is clearly a step-up in the sound. CONJURE is another furious song this week, one that feels like a stand against an appalling status quo, the synths hitting like stabs in the neck out of the chorus and a sense of drama and power that makes BESTIAL MOUTHS sound unique once again.
/Brutalist Architecture in The Sun
/Worlds Collide
/The Beauty In Broken EP
This Medway Minimal Synth artist has been featured a fair bit on /amodelofcontrol.com in the past few years, and their latest EP is worth a listen too. It opens with the punchy Worlds Collide, which keeps the synths very minimal indeed but everything in the mix lands hard. The distinctive vocals of Cye Thomas add much to the track, too, a plaintive sound that adds a lot of emotion to the cold synth stylings.
/Watch/YouTube/Philip Jeays
/Saturday Shoe Shop Girl
/Saturday Shoe Shop Girl
Longtime site favourite Philip Jeays is back with a new album in September, and the title track was released last week. If you’re familiar with Jeays (as you should be), hearing this song for the first time will be like the return of an old friend into your life: a wistful, delicate song that is part character sketch, part reminiscence. It begins the former, but later evolves into an evocative memory of youthful love, where you begin to understand what love and infatuation is, and how complex those feelings can become.
/Cabaret Voltaire
/Thank You America (John Robie Dub Mix, 2026 Remaster)
/CODE (2026 Remastered Digital Deluxe Edition)
A fascinating choice of remaster and reissue from the Cabs is the 1987 album CODE – the final album in their industrial funk (and best) era. The notes accompanying the release announcement interestingly confirm that Richard H. Kirk was involved in the work remastering and collating this before he died, and the remainder of the band continued his work from notes he left. There are no less than 23 additional tracks, with a host of remixes and alternative versions, and the first track released from it is a thumping “Dub Mix” of Thank You, America that toughens up the track considerably.
/Stabbing Westward
/Crushing Me (ReWired)
/Wither – ReWired
Another band reassessing their past somewhat are Stabbing Westward, who to mark thirty years of Wither, Blister, Burn and Peel have re-recorded the album from the ground up with a fresh new outlook, something that can be a dangerous thing as the songs are often so beloved. The first track released from this, then, has radical changes. Crushing Me was rarely a favourite of anyone on the album, let’s be honest, but it was by no means a bad song: just a bit of a slow-paced dirge, perhaps. So to see it reworked into an uptempo, industrial rock piece is quite the surprise, but you know what? It works.
I await the rest of this release with fascination.
/Ministry
/Burned Out
/Hate to Go (Take Out or Delivery)
Yep, Uncle Al sure as hell sounds burned out. The lead single to what we’re told, honest, is the final Ministry album of all – although I’m inclined to believe it this time. An interesting bassline rumbles away underneath what is otherwise late-period Ministry-by-numbers, grumbling about current politics for over six minutes. It comes complete with a lengthy, synth-and-bass breakdown that is full of “news” soundbites from right-wing news channels, and an awful AI-generated video and artwork that cheapens the whole fucking thing even further.
The rumours about Al and Paul Barker reuniting is true, it turns out, but he is only listed as featuring on the final song on the new album, even if, as others have noted, that this song sounds like it has a Paul Barker bassline.
Maybe I was hoping for better to see such an influential artist. Oh well, I still have The Land of Rape and Honey, The Mind Is a Terrible Thing to Taste and Psalm 69 to remind me how fucking great they used to be, eh?