Hello; We’re back! 

We hope everyone enjoyed their Halloweekend! For any who missed the Halloween special of Out Of Circulation, if can be found in our episode archive. 

We’ve got our thoughts on The Blue Nile’s seminal Hats record coming this Wednesday; Do be sure to check back for more! 

As always, you can catch a brand new episode of Out Of Circulation this Thursday from 1-2 PM EST on WNHU. 

Looking forward to this week... See you soon!

Photo by Henrique Plantikow

Happy Monday, all!

Special thanks to any new readers that checked out our SST Records feature! Having a packed schedule ahead of us here, there will be no new articles coming this week! That said, we have a few events lined up that we are most excited for.

Firstly, we'll be checking out  Lightning Bolt show at the Space Ballroom this Wednesday! Tickets are still available here... Certainly not a show to miss.

Furthermore, you can catch the Halloween special of Out of Circulation on 88.7 WNHU this Thursday from 1-2 PM EST. Looking forward to it!

Lots of exciting stuff going on here, but please take the time to review any past articles our ours that you may have missed. We aim to have new content ready for next week!​

Elmer and the Ceramic Trees is the brainchild of Robbie Haas, whose curation of great influences has resulted in even greater music.

Since the release of 2014’s self-titled record , Elmer and the Ceramic Trees’ sound has been well-informed by the best of alternative and underground music. Throughout the debut release, Peter Buck-esque guitarwork finds itself meeting compositions reminiscent of The Cure’s earliest output. While countless bands over the years have attempted to distill the elements that made 80s alternative what it was, the sense of innocence and tuneful songwriting that R.E.M. and The Cure possessed is often lost. The same cannot be said for Elmer and the Ceramic Trees, as Haas’ command of both song structure and melodicism is strong. Almost a decade removed from his debut record, Haas is set to release the newest Elmer and the Ceramic Trees’ record (We Were Beautiful in August) on October 27.

Having the chance to preview We Were Beautiful in August, we are delighted to confirm that it may be Haas’ best release to date. While the pop-centric qualities of earlier releases remain, there is a newfound sense of brooding melancholy that creates cohesion throughout the tracklist of We Were Beautiful in August. If you can picture Ocean Rain-era Echo and the Bunnymen’s catchiness melded with Pornography-era The Cure, the sonic palette that Haas pulls from is equally nostalgia-evoking and presently-masterful. Luckily, we can recommend single “Who’s Your Entertainment” as a preview for what to expect from We Were Beautiful in August.

For those looking to satisfy their craving for great new wave and 80s alternative, the revitalized take that Haas has provided on We Were Beautiful In August is sure to impress. Be sure to check out Elmer and the Ceramic Trees’ Bandcamp to stay up to date!

Where would the world of underground music be today without SST Records?

While that question is truly unanswerable, you would be hard pressed to find a modern independent label that takes no influence from Greg Ginn’s SST Records. Booking D.I.Y. tours, self-financing/releasing records, and housing a multitude of musical styles under one roof is commonplace for indie labels, today. That said, Ginn and SST were paving the way for these endeavors as early as 1978. The presence that SST had across some of underground music’s best decades are undeniable, as the label would be responsible for releasing some of the most respected and revered albums of all time. While the lack of proper accounting on Ginn’s behalf would lead SST to dissolve, the caliber of the label’s catalog is undeniable.

While a definitive ranking of SST’s best releases is a tall order, we present our picks for 5 of their essential records:
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4. Hüsker Dü - Flip Your Wig (1985)
While many would point to 1984’s Zen Arcade as this band’s masterpiece, Hüsker Dü distills the same aggression and memorableness into the tight runtime of Flip Your Wig. Bob Mould, Grant Hart, and Greg Norton find themselves at their most cohesive and witty via highlights “Makes No Sense At All”, “Green Eyes”, and the explosive “Divide and Conquer”. Aside from the material itself being stellar, the vocal interplay between Mould and Hart is another factor that makes Flip Your Wig an essential release. While Zen Arcade is certainly worth your time, Flip Your Wig will give you a good sense of Hüsker Dü’s melodicism in a condensed format. 

3. Minutemen - Double Nickels On The Dime (1984)
Hüsker Dü benefitted from the constraints of a single LP release (Flip Your Wig), while Minutemen thrived by creating the best double LP that SST has to offer. Over 40 songs of pure musicality and diversity is what Mike Watt and D. Boone offer here, as George Hurley briskly keeps everything together via his percussion. When it comes to defining the D.I.Y. ethos that SST would become synonymous with, Minutemen’s ambition and uniqueness played a big part in that. To tell SST’s story without Double Nickels would plainly be inaccurate. After giving this record a listen, we recommend viewing the band’s film; We Jam Econo. Between this film and record, you will be granted insight into one of SST’s most intriguing and creatively fulfilling bands. 

Hello all!

We've got an exciting week ahead, as we'll be featuring one of our all-time favorite record labels for Wednesday's update. Do be sure to check that out!

Also, make sure to tune in to this week's episode of Out Of Circulation! You can check it out live on WNHU this Thursday at 1-2 PM EST or listen via our brand new archive (check top tabs on website). 

That's all for now... Enjoy Monday!

Hello all!

While we typically use Fridays to cover new releases, we are proud to share the BRAND NEW archive of past Out Of Circulation tapings. All past episodes are available to stream/download via Google Drive (link at top of website). We will continue to update the archive with new episodes every week... Check back often!

Additionally, WNHU is hosting a 24-hour live broadcast starting today! Please consider tuning in and donating to support WNHU's future, here.
​
Out Of Circulation Archive

Photo courtesy of MCA Records

37 years onwards, the debut LP from Cactus World News remains a semi-forgotten classic with a unique history.

Dominating current news headlines, former post-punk group U2 have officially begun their residency at Las Vegas’ Sphere venue. Celebrating over 30 years since the release of their Achtung Baby record, the band is projected to gross $1.5 million for every show performed at Vegas’ new mecca for live music. However, it is the body of work that U2 contributed to the pantheon of rock decades previous that still has us discussing the band’s current activity. 1980’s Boy and 1983’s War are both superb recordings that bridge the gap between Joy Division and The Jam. That said, above all of this, one of the band’s (Bono, specifically) shining accomplishments was the introduction of fellow Irish new wave outfit, Cactus World News.


While the name Cactus World News may not have the same immediate impact of U2 or Tears For Fears, they certainly had the musical prowess to hang in the same league. After sending an early demo of theirs to Bono, Cactus World News would release their debut single (“The Bridge”) on U2’s Mother Records. While “The Bridge” would be re-recorded for its inclusion on their fantastic debut LP Urban Beaches, sonic similarity to U2 was hard to ignore. Vocalist Eoin McEvoy sounds as if he paid attention equally to both Bono and Robert Smith, while the leadwork of Frank Kearnes mirrors work similar to Echo and the Bunnymen’s Ocean Rain. Comparison to their contemporaries is fair game, though Cactus World News had the ability of great songwriting to rely on.

By 1986, Cactus World News had achieved moderate success with Mother Records and moved onto working with MCA Records. Urban Beaches may have had major label backing and distribution, yet it has seemingly been lost to time. While those who remember its initial release still champion its quality, the band has never had a resurgence similar to The Chameleons. 

To be blunt, that is a giant shame. 

Listening back to Urban Beaches, this is an album made with the production and talent necessary to create a classic.

Album opener “Worlds Apart” sets the tone for Urban Beaches as a driving and infectious record, as Kearnes’ guitars jump out of the mix and grab attention. McEvoy delivers an assertive vocal, adding to the immediacy of the track. Album highlight “In a Whirlpool” is characterized by its swirling guitarwork and pulsating percussion, which is sure to remain a listener favorite after first listen. “The Promise” is a sprawling epic, building to fantastic heights over its longer runtime. The album’s opening portion is bookended by “The Bridge”, which greatly benefits from a more refined re-recording. For an album that slipped by so many, the infectious nature of Urban Beaches is hard to deny. 

If any critique can be made of Urban Beaches, the album’s latter half is not as punchy and immediately hooky when compared to its opening. That said, both “Church of the Cold” and “Jigsaw Street” are equally memorable tracks that deserve reappraisal. While the 1980s supplied a seemingly endless variety of fantastic post-punk/new wave/goth records, Urban Beaches remains an album that deserves a spot in your rotation. Luckily, vinyl copies can be found online anywhere from $5-10, making it an easy addition to your collection. If you have never given Urban Beaches a chance, we highly recommend it! ​

Happy Monday, all!

Firstly, special thank you to anyone who tuned into the debut of Out Of Circulation over on 88.7 WNHU last Thursday! If you missed it, you can catch a brand new episode this Thursday (10/12) from 1-2 PM EST. We are trying to get an archive of past episodes together... Stay tuned on that!

In other news, we are excited to bring you our thoughts on the criminally underrated debut album from Irish new wave group, Cactus World News. More on that Wednesday!

​That's all for now... Catch you later.

Photo by Pier Nicola D'Amico

On their first new LP in nine years, Blonde Redhead deliver a quality palette of dream pop and indie on Sit Down for Dinner

No strangers to turning in quality records, Blonde Redhead’s newest offering is the definition of a grower. Upon first listen, the consistency in sound felt more like a lack of variety than an attempt to develop an atmosphere. That said, after multiple listening sessions with the album, Blonde Redhead’s sound and album pacing remain the factors that have kept us returning to Sit Down for Dinner. Amedeo Pace, Simone Pace, and Kazu Makino are unquestionably in-sync with each other, making a commonly utilized soundscape their own across the album. From the opening moments of Sit Down for Dinner, the band establishes the laid back and illusive feel that carries throughout the whole record. While one could argue the tracklist is a bit one-dimensional, the professionalism of Blonde Redhead’s performance more than makes up for it.

Album opener, “Snowman”, does a great job at easing listeners into Sit Down for Dinner. All of the earcandy developed over the album’s runtime is presented upfront, which is a fantastic way to develop tonality early on. That said, “Snowman” is not one of the more memorable tracks solely based on composition and melodicism. If anything, Blonde Redhead only gets more melodic as the tracklist soldiers on. “Kiss Her Kiss Her” maintains a similar feel to “Snowman”, though Makino’s vocal hook is sure to keep you listening many times over. Blonde Redhead have always been masters of crafting high-caliber hooks (look no further than 2004’s Misery Is a Butterfly), which is proven once more on album highlight, “Not for Me”.

Driving percussion, a brilliant raspy vocal, and fluttering guitarwork are all the elements that make “Not for Me” a true standout moment. As we wrap up 2023, this track is sure to remain one of our favorites from this year. “Melody Experiment” and “Rest of Her Life” carry the same sense of memorableness, serving as great vehicles to keep the album’s momentum high. By the time the album’s two-part titular track is reached, the album settles into a contemplative mood that holds firm throughout its latter half. As the album concludes, our main takeaway is how much Blonde Redhead is able to accomplish with the minimalist sound palette of Sit Down for Dinner. If you find yourself looking to fulfill your craving for dream pop, give this record a listen.

Sit Down for Dinner is available via section1.

Photo by Ebet Roberts

Having completed a universally praised North American tour and appearing at 2023’s Riot Fest, The Cure remain one of the reigning champions in alternative music. Decades since the group’s 1979 debut Three Imaginary Boys, frontman and creative visionary Robert Smith has led The Cure to create some of music’s most-beloved singles and albums. While albums like 1984’s Pornography and 1989’s Disintegration have gone on to become legendary sonic documents, The Cure have a plethora of underappreciated tracks across their discography. 

While it is an impossible task to cover all of them, here’s five that flew under the radar that you need to hear:

5. “Grinding Halt” (Three Imaginary Boys, 1979)
To tackle a discography spanning over 40 years, starting at the very beginning made sense to us. Upon revisiting Three Imaginary Boys, it is “Grinding Halt” that sticks out as a shining moment. The brisk pace of the track (compliments of Lol Tolhurst) helps to accentuate the syncopated riffage of Michael Dempsey’s bass and Robert Smith’s guitarwork. While “Grinding Halt” may not be a contender for the “most sophisticated” or “deepest” offering when it comes to The Cure, its youthful energy adds a certain charm that is not replicated across any of their other albums. If you are looking for The Cure at their most primitive and fun, look no further than “Grinding Halt”. 

4. “The Funeral Party” (Faith, 1981)
When discussing “The Funeral Party”, it is important to note the atmosphere created by this track. Appearing on The Cure’s third album, the synthesizer work on “The Funeral Party” serves as a precursor for the darkest points on Pornography. That said, this is track that stands on its own merit. The instrumentation is simply sublime, serving as a perfect canvas for Smith’s vocals to coast over. While Faith is best remembered for its single, “Primary”, “The Funeral Party” is of the same caliber. The first three records from The Cure have a wide selection of favorites, though “The Funeral Party” resides amongst the best.

3. “Dressing Up” (The Top, 1984)
While some consider The Top to be a Robert Smith solo album, it is unfair to simply brush off The Top as a lackluster effort. While The Top arguably does not retain consistency at the level of Disintegration throughout its tracklist, it is a record chock full of underrated gems. When it comes to “Dressing Up”, this track sees Smith utilizing synths to create dreamlike wonder. In stark contrast to the downtrodden and bleak synth textures of previous albums, “Dressing Up” is a fantastic example of how The Cure would begin to broaden the atmospheres they could create with their sound. While “Dressing Up” is a forgotten gem, the best would truly be right around the corner.

2. “Sinking” (The Head On The Door, 1985)
Disintegration is undeniably The Cure’s magnum opus (which is why no tracks from the album are classified as “underrated”). While that may be true, The Head On The Door is not far behind. While The Cure excels at creating sprawling and thematic epics, The Head On The Door is excellent due to its conciseness. From the pop bliss of “In Between Days” to the experimental “Kyoto Song”, The Head On The Door is an excellent showcase of everything The Cure was capable of in 1985. However, it is the brooding and beautiful “Sinking” that makes our list. Commonly glossed over in discussion of this album, “Sinking” effortlessly blends all the elements that make The Head On The Door great into one track. If it is not the perfect way to close out this amazing record, best of luck finding another way to do so!

1. “A Thousand Hours” (Kiss Me, Kiss Me, Kiss Me, 1987)
How can a track from the album that brought the world “Just Like Heaven” be deemed as underrated? Well, with “A Thousand Hours” being buried at the end of Kiss Me, Kiss Me, Kiss Me’s 17-song tracklist, it can be easy to miss it. That said, “A Thousand Hours” packs all of the emotion and drama you would expect from a Cure epic into three minutes. While that may sound jarring, Smith’s howling vocal and cascading instrumentals accomplish just that. With ease, “A Thousand Hours” serves as a reminder for why The Cure have remained a global force in alternative music. While the band can craft both pop songs and epics, their blending of these two styles continues to set them apart from their contemporaries.

What songs did we miss? Comment with your picks!