"In his Autumn 'fore the Winter, comes mans' last mad surge of youth. 
What on earth are you talking about?"

This lone sample introduces listeners to Script of the Bridge, the sorely-forgotten and fantastic 1983 debut by The Chameleons. While the sounds of U2’s debut record (Boy, 1980) made its way onto American airwaves via singles “I Will Follow” and “Out of Control”, The Chameleons’ command of dark atmosphere and delayed guitar mastery slipped by the American mainstream. While the latter half of the 80s saw post-punk and alternative represented in said mainstream (Siouxsie and the Banshees, The Cure, and Depeche Mode for instance), The Chameleons found themselves unable to achieve the same level of commercial regard. While the band’s third record (Strange Times) would produce a minor US hit for them (“Swamp Thing), it is hard to deny the sheer brilliance of their debut effort. Decades after its initial release, a retrospective listen will leave new listeners asking the following: “Why wasn’t this huge?!”

Led by chief songwriter and frontman Mark Burgess, Script of the Bridge is equally brooding and infectious with its pop-sensibilities. As the hook of the album’s opener (“Don’t Fall”) crawls its way out of the mix, the record establishes its strongest attributes from the beginning. The soundscaping ambition of the group is apparent across both “Here Today” and “Monkeyland”, while it all culminates in front half highlight; “Second Skin”.

The driving sensibility of “Don’t Fall” can be considered a contrast from the gradual builds of “Here Today” and “Monkeyland”, but “Second Skin” is the moment Script of the Bridge melds these two songwriting approaches together. While the majority of “Second Skin” is spent building to the track’s final moments, Burgess’ repeated delivery of “If this is the stuff dreams are made of / No wonder I feel like I'm floating on air” signals a palpable change in tonality. While we have listened to Script of the Bridge many times over, “Second Skin” will never fail to amaze with its variety of sonic exploration. Having established itself as a powerhouse record over its first four tracks, The Chameleons’ finest attempt of crafting a perfect single is integrated as the fifth entry on Script of the Bridge. After one listen to “Up the Down Escalator”, the initial question of “Why wasn’t this huge?!” becomes all the more difficult to answer.

The Chameleons’ may shine when their exploratory nature is on full display, but “Up the Down Escalator” serves as evidence that they could craft glorious pop wonders. Burgess packs bleak sentiments such as “They tell me tomorrow will never arrive / But I've seen it end a million times” into tight-knit verse passages, eventually marrying them to the anthemic chorus of “There must be something wrong, boys”. Nearly mid-way through Script of the Bridge, “Up The Down Escalator” serves as an indisputable entry for one of the album’s strongest moments. Its concise instrumental serves as a unique backdrop for Burgess’ lyricism, which is not replicated afterwards. In reality, Script of the Bridge reaches its darkwave apex with the cold “Less Than Human”. While not a personal favorite, its inclusion continues to showcase the breadth of material The Chameleons are capable of. 

“Less Than Human” is the moodiest moment on Script of the Bridge, though these tendencies flavor latter half favorites such as “Pleasure and Pain” and “A Person Isn’t Safe Anywhere These Days”. As the album concludes with the sublime “View from a Hill”, Script of the Bridge solidifies itself as a record that is an essential entry in the legacy of 80s alternative rock. Luckily, recent reissues of the album have made it readily available for all!

By all means, do not delay checking out this incredible album! We are honored to have covered it.

It's been a great break, but we're happy to be back!

Out of Circulation will be returning this Thursday (11.30) on WNHU from 1-2 PM EST, which we ensure will be a fantastic episode. Keep your eyes peeled for a brand new classic review this Wednesday.

That's all for now. Looking forward to the week ahead!

Happy Thanksgiving week to all! Due to the holiday, we will not be publishing new content this week. Feel free to utilize this time to review past articles and the Out Of Circulation archive.

That said, we were honored to have attended Geddy Lee's (Rush) My Effin' Life promo tour in Boston over the weekend. Lee's words were humorous, insightful, and impactful beyond the scope of music. After attending, we are quite excited to dive into his new autobiography,  My Effin' Life!

Special thanks to both Nuggets & Music Research Library for supplying us with ample record-hunting locations while in town... Do check both stores out if you are in the area!

Photo by Jeffrey Fowler

Five years after releasing the fantastic "Elastic Days", J Mascis returns with “Can’t Believe We’re Here”.

When Dinosaur Jr. frontman J Mascis released Elastic Days in 2018, it raised our standards and expectations for its follow-up release. No stranger to releasing quality solo material, it is arguable that Elastic Days did the best job at combining the fuzzy-edge of Dinosaur Jr. with Mascis’ softer sensibilities. Tracks like “See You At The Movies” and “Drop Me” rank among the strongest tracks Mascis has penned since his first Sub Pop Records solo album, 2011’s Several Shades of Why. While we wish that “Can’t Believe We’re Here” lived up to the high benchmark set by Elastic Days, this single falls short when compared to its predecessor.  

To clarify, there is not anything wrong with “Can’t Believe We’re Here”. Serving as the introduction for his upcoming record, What Do We Do Now, it just seems as if Mascis was on autopilot during the track’s writing process. The instrumentation does not strike us as anything unique in the catalog of Mascis/Dinosaur Jr., while the melody chosen also comes across as a bit by-the-numbers. “Can’t Believe We’re Here” does a fine job at showcasing the typical elements of the average Mascis-penned tune, but leaves nothing to the imagination for longtime listeners. What Do We Do Now still has potential to be a solid record, but its opening salvo pales in comparison to “See You At The Movies” and prior Mascis singles.

“Can’t Believe We’re Here” is available now via Sub Pop Records.
What Do We Do Now is out February 4 via Sub Pop Records.

Ex-members of Quicksand, Helmet, and Cro-Mags align as Handsome; cementing their legacy as one of the greatest 90s one-off projects.

While the former projects of Handsome’s members are rooted in New York’s now-legendary hardcore scene, their self-titled album deserves placement and praise akin to the best of 90s alternative. Composed of Jerry Chatelain, Peter Mengede, Tom Capone, Eddie Nappi and Pete Hines, the twelve tracks penned by the band exhibited the potential for Handsome to become one of the 90s most-beloved groups. After releasing Handsome in February 1997, the band would open for both Deftones and Local H. In an effort to spread their music far and wide, Handsome would also support Wu-Tang Clan on select dates in Europe. Though these opportunities primed Handsome for commercial success, it never came their way. 

Frustration with the band's label (Sony/Epic, who never understood how to market the band) and inner tensions would cause Handsome to split by the end of 1997. The band’s members would find themselves in future projects afterwards, yet their efforts on Handsome have truly stood the test of time. Handsome’s knack for melding metallic-hardcore with Chatelain’s melodic vocals is a memorable combination, resulting in a mostly memorable and cohesive release. While the 90s would produce records that were heavier and catchier by comparison, Handsome has its own sonic signature that makes repeat listens desirable.

The album’s only single, “Needles”, quickly illustrates the meld of heaviness and melodicism that is prominent throughout Handsome. From the glorious harmonics that introduce “Needles” to its note-perfect hook, it is easy to imagine this track among the most revered singles from the era. The same can be said for both “Ride Down” and “Going To Panic”, which are masterclass examples of how to maintain momentum throughout an album’s immediate impact. The weight of “Left Of Heaven” is a great counterpoint to the earworm pop of album highlights “Thrown Away” and “Dim The Lights”. To us, “Dim The Lights” serves as a marker for what Handsome could have become on future releases.

While most of the material on Handsome emphasizes the melodic content of Chatelain’s vocal contributions, “Dim The Lights” is the closest Handsome came to crafting a surefire hit. Burying the track halfway into the album’s tracklist does not help its case, but the song itself is a tight-knit earworm that deserves reappraisal! It stands in stark contrast to the grinding “Lead Bellied”, as Mengede and Capone’s guitarwork beautifully crashes into Hines’ hammering percussion. The same can be said on behalf of “My Mind’s Eye” and “Waiting”, though the contemplative sway of “Quiet Light” is another track that stands without peer.

“Quiet Liar” could be released by an active alternative/underground band to mass praise. Noticeably slower and more introspective than the rest of Handsome, “Quiet Liar” does an excellent job at establishing a captivating sense of unsureness within four minutes. While the album’s closing moments (“Eden Complex”, “Swimming”) do not result in the band’s most inspired material, the quality of “Quiet Liar” more than makes up for it. Ultimately, Handsome is the only full-length documentation from a band that could/should have been much more.

For fans of both heavy and melodic alternative rock, we strongly suggest Handsome as your next listen. While physical copies can be hard to track down, the album is available on all major streaming platforms.

We were fortunate to have caught Blonde Redhead's gig at Brooklyn Steel this weekend... To say their performance exceeded our expectations would be an understatement!

While we were equally impressed by Nadah El Shazly's ethereal opening performance, Blonde Redhead played a masterfully crafted set. Largely consisting of material from their excellent new record, Sit Down For Dinner, past releases such as Misery Is a Butterfly and 23 fit perfectly alongside their newest work. As for the band themselves, the level of connection and professionalism apparent was what elevated the show to another level. If you are debating catching this tour, do not hesitate!  You can check out a list of future dates here.

In other news, last week's edition of Out Of Circulation is available via our episode archive. We have a great show and content planned for this week. Have a great Monday; Stay tuned!

With Marr’s Guitars, Johnny Marr collects both the guitars and creative philosophy that has made his work a mainstay of alternative music and culture.

Making his name as half of The Smiths’ songwriting duo (alongside Morrissey), Johnny Marr’s identifiable ability to play memorable melodies with a uniquely colorful timbre solidified his place as an icon early on. While The Smiths would ultimately disband in 1987, Marr’s life in music had only just begun. Quickly regrouping, bands such as Talking Heads and The Pretenders would call upon Marr for his impeccable musicianship and pure artistry. Having experienced writing and performing without his former-Smiths bandmates, Marr would pursue successful projects including Electronic and a stint with Modest Mouse; Exhibiting ambition to experiment and diversify Marr’s abilities. 40 years since The Smiths debuted, Marr continues touring and releasing solo records that exhibit why he is one of rock’s greatest players.

Alongside the help of famed photographer Pat Graham, Marr’s Guitars provides fans with the most in-depth look at the tools Marr has used throughout his storied career. While many musicians of Marr’s caliber release books, the number of those books that are essential reads are few and far between. While Marr’s musical journey was well documented via his autobiography, Set the Boy Free, Marr’s Guitars is an essential collection of all the recording methods and guitars found across Marr’s various projects. While Graham’s photography of the various instruments featured is top notch, the best part of Marr’s Guitars is the personal commentary provided by Marr throughout the book. While a small portion of the gear featured in Marr’s Guitars have no commentary attached to them, those that do are wonderfully written.

Marr’s recollection of the guitars used to write and record some of alternative music’s greatest songs is a treat to have, as common/public understanding of exactly how Marr did it has been of popular debate. However, with the release of Marr’s Guitars, we now have a definitive resource to consult. Extensive history behind the guitars used to record The Queen Is Dead is a highlight, while we also enjoyed the chronicling of Marr working alongside Fender to develop his signature Fender Jaguar. For any fan of Marr or guitar in general, the book is an easy-yet-gripping read.

Copies of Marr’s Guitars are available here. 

​As we near the end of 2023, we look back on 5 essential records that turned 30 this year!

​While we can’t account for all of the brilliant releases that 1993 gave us, consider this a sampling of some crucial listens from that time period:

Chrome - Catherine Wheel
30 years since its release, Catherine Wheel’s sophomore album is an album that arguably fits within the current canon of alternative rock better than ever before. Song for song, Chrome is an expertly curated batch of songs with stellar production. While the band’s sound is comparable to other alternative rock groups of the era, Catherine Wheel adds their own shoegaze textures into their compositions. Cutting pop sensibility is notable across tracks “Crank” and “The Nude”, while the psychedelic elements of their sound peek through on “Fripp” and “Half Life”. Gil Norton’s production work can be compared to modern staples such as Drug Church, as it has truly withstood the test of time. While not one of the biggest records to come out in ‘93, Chrome is surely one of the best.

Everybody Else Is Doing It, So Why Can't We? - The Cranberries
The Cranberries would go on to become one of the decade’s most successful acts, much to the credit of Everybody Else Is Doing It, So Why Can't We?. While later albums such as No Need To Argue and To The Faithful Departed have a great selection of tracks between them, neither possess the same level of cohesion and consistency as this wonderful debut record. The album’s success may have come in the form of its singles (“Dreams” and “Linger”), though a re-listen yields forgotten gems such as “Pretty”, “Wanted”, and “Still Can’t”. The Cranberries may have disbanded after the tragic passing of Dolores O'Riordan in 2018, yet Everybody Else Is Doing It, So Why Can't We? continues to garner new fans on its artistic merit. “Sunday” has found itself a new audience via TikTok, which comes as no surprise due to the cinematic and sweeping nature of the tune. If you are only familiar with The Cranberries’ most popular material, “Sunday” and Everybody Else Is Doing It, So Why Can't We? deserve an immediate and uninterrupted listen.

In on the Kill Taker - Fugazi
No stranger to putting out great records, Fugazi diversified and solidified the sound of post-hardcore by releasing In on the Kill Taker. While initial recording sessions with famed-engineer Steve Albini did not go as planned, the final version of the In on the Kill Taker (Produced by Ted Niceley) deserves its reputation as one of the finest albums 1993 had to offer. From the start of “Facet Squared”, Fugazi demonstrates that the fiery underbelly of prior release Repeater is still wholly embraced. However, tracks such as “Returning the Screw” and “Rend It” showcase a mastery of dynamics and musical restraint. Instrumental “Sweet and Low” serves as a fantastic middle-point of the album, reminding listeners why Fugazi is the best at what they do. It is no easy task to be definitive on the band’s best release, but it is certain that In on the Kill Taker is one of their finest moments.

Souvlaki - Slowdive
Souvlaki is the definition of a record that has aged gracefully. While Slowdive were unfairly maligned by critics during their initial run, critical reappraisal of their discography has concluded what listeners knew all along: Slowdive is an institution in combining psychedelia with pop melody. Chief songwriters, Neil Halstead and Rachel Goswell, knew exactly how to meld their influence of classic goth such as Siouxsie and the Banshees with early alternative ala-Velvet Underground. The end result is the finest album associated with shoegaze, as pop bliss seeps through classics such as “Alison”, “40 Days”, and “When the Sun Hits”. Deeper examination of Souvlaki reveals the wonder of tracks such as “Altogether” and the brooding closer, “Dagger”. Additionally, we recommend taking the time to review Pitchfork’s excellent documentary that chronicles the making of this album. Souvlaki may not be the noisiest record that shoegaze has to offer, but it is unquestionably one of the more melodic and memorable.

Siamese Dream - The Smashing Pumpkins

1993, excellence, and career-defining are all descriptors that have become closely associated with The Smashing Pumpkins sophomore opus, Siamese Dream. 

The stakes for the Pumpkins were at an all-time high leading up the album’s release, largely due to the pressure of their label to make an album similarly successful to Nirvana’s Nevermind. Coupled with inner turmoil in the band manifesting, many were unsure if Billy Corgan would be able to see the project through. Luckily, decades onwards, we should be grateful for Corgan’s artistry and perseverance. At the end of it all, Siamese Dream has achieved myth-like status due to its songcraft, sonic density, and relatable narrative themes. While only Billy Corgan and drummer Jimmy Chamberlin recorded the majority of what is heard on Siamese Dream, the end result is one of 1993 and rock music’s greatest documents. “Mayonaise” is commonly hailed as one of the band’s best, but we would be more apt to suggest “Hummer” as a sample of the quality that Siamese Dream is known for.

Sound off in the comments with your favorites from 1993 that we missed!

Happy November, everyone!

Hard to believe that the end of 2023 is coming up, but we plan on staying busy and giving you loads of brand new content! In that spirit, we will be celebrating five of our favorite records that turned 30 this year for Wednesday's feature... Be sure to check that out!

Otherwise, be sure to check out the archive for past episodes of Out Of Circulation and tune in this Thursday from 1-2 PM EST for this week's episode.

Hope all is well with everybody and many thanks to any new readers!

Photo by Youri Lenquette

When Nirvana first teamed up with Steve Albini for the recording of In Utero, their collaboration was intended to capture the band at their most primal, visceral, and raw form. Revisiting tracks such as “Milk It” and “Radio Friendly Unit Shifter” reinforce this concept, while classic singles “Heart-Shaped Box” and “All Apologies” see the band embracing their darkly pop sensibilities.

That said; Why is another remaster/revision of In Utero needed in 2023?

For those unfamiliar, the story behind Steve Albini’s presence on In Utero is one that necessitates a true deep dive to understand. While in-depth documentation of Albini and Nirvana’s partnership is available, it boils down to Geffen Records being afraid that Albini’s anti-commercial means of recording would yield a downturn in sales for In Utero. This would become a point of contention between Nirvana and Geffen, ultimately resulting in producer Scott Litt remixing the album’s three singles (“Heart Shaped Box”, “All Apologies”, and “Pennyroyal Tea”). While the merit of Albini’s approach compared to Litt’s remixes is often debated, it does not change the fact that In Utero would debut at number 1 at Billboard upon release. Cementing itself as a definitive release for the band, one would assume that Nirvana and co. would let In Utero be, right?

Wrong. 

To celebrate the twentieth anniversary of In Utero, the entirety of Steve Albini’s original mix was released (leaving out Scott Litt’s 1993 remixes) alongside a then-new 2013 remix done entirely by Albini. Packaged alongside a handful of unreleased demos and instrumentals (depending which version of the 2013 In Utero reissue was purchased), it seemed as if anything that could be done to revise the tumultuous history of In Utero’s mixing was done. That said, with 2023 marking the thirtieth anniversary of In Utero, yet another reissue of the album is available as of October 27, 2023. 

While the reissue does include a variety of live recordings from the In Utero touring cycle, it also features another brand new 2023 remaster of the original release. It arguably made sense to allow Albini to revise the record’s mix in 2013 (in an attempt to settle any multi-decade debates), though further altering the original recording with this 2023 remaster seemingly undermines the intent of that project. Having positioned Albini’s revisions for the twentieth anniversary of In Utero as the definitive version of the record, what does this 2023 remaster add to that conversation? Aside from making newfound live recordings from the era widely available, how does a new remaster aid in Nirvana posthumously accomplishing what they aimed to do in 1993?

Nothing. It simply adds nothing.

Comparing the original release of In Utero to the 2023 remaster, we found no major differences that warrant a relisten or reappraisal. Unfortunately, it seems that this remaster was simply done to give fans something “new” for the album’s thirtieth anniversary, rather than providing something of actual purpose and function. When Kurt Cobain first heard Steve Albini’s work on Pixies’ Surfer Rosa album, it was Albini’s use of room reverb and effort to capture a band’s live performance that attracted him (as well as Krist Novoselic and Dave Grohl) to working alongside Albini for In Utero. Comparing the album’s 2023 remaster to its original release, the intent behind this collaboration is no more potent/emphasized. 

Let us be clear: In Utero is a record that deserves consistent celebration and praise. In our eyes, it is the crown jewel of Nirvana’s catalog and remains an overarching influence on the pantheon of modern rock. However, true celebration of a landmark album should be done by revisiting it in its original form, not remastering for the sake of doing so. While we wish we could report differently, the 2023 remaster is non-essential in telling the story of Nirvana’s iconic final album.

The 30th anniversary editions of In Utero are available here.