Indie Christmas songs

Sick of Slade? Here's a selection of alternative festive treats that will rescue your stereo from the tyranny of Noddy.

This is obviously not a complete or definitive list -- comment below with your suggestions for what I should have included!

 

Low - "Long Way Around the Sea" (1999)

The slowcore pioneers Low issued the album Christmas in 1999 with little fanfare; the collection has since become a minor classic. Eschewing irony, it's a gentle celebration of the Christmas story -- the band members are Mormons, after all -- and "Long Way Around the Sea", about King Herod, Jesus and the wise men, is a powerful piece of music that sounds simultaneously ancient and thrillingly new.

 

Camera Obscura - "The Blizzard" (2009)

"Listen to that northern sigh. If we don't get home we'll die." So sings Tracyanne Campbell's rider to her lame pony, Dan, in this cover of the Jim Reeves standard. Like many songs of winter, the theme here is homecoming -- a lover waits seven miles away for the travellers to return as a snow blizzard descends, with the wind howling "mighty like a woman's screams". Contrasted with the unfeeling coldness of nature are "hot biscuits in the pan" (for the rider) and "hay so soft and warm" (for Dan). When Bing Crosby sang, "I'll be home for Christmas, if only in my dreams," the pathos was derived from knowing that, in reality, he probably wouldn't be. Reeves's lyric takes this further and (spoiler alert) has both rider and pony die, just a hundred yards from their destination. Glasgow's Camera Obscura began as a Belle and Sebastian-endorsed tweecore band; over ten years, they have grown in stature and ambition with each record. "The Blizzard" is a cover version but it's a good showcase for their classic pop sensibility, which delivers all the more impact for its restraint.

 

Trembling Bells and Bonnie "Prince" Billy - "New Year's Eve Is the Loneliest Night of the Year" (2010)

Will Oldham (aka Bonnie "Prince" Billy) has long cultivated the persona of the scatological romantic: his grimy narratives are often violent and sexually explicit but always full of passion and real emotion. In this respect, he resembles both Charles Bukowski and Shane MacGowan -- and he seems to channel the spirit of the Pogues singer here. "New Year's Eve . . ." is a seasonal song of the old school, complete with horns, strings, a big chorus ("It had to be in winter!") and vocal harmonies. Most of all, it evokes the Pogues hit "Fairytale of New York" and matches its sense of unbridled celebration.

 

Flaming Lips - "Christmas at the Zoo" (1995)

By the mid-1990s, the Flaming Lips were on their seventh album (Clouds Taste Metallic) and going from strength to strength, their preoccupations with aliens, the universe and animals still fresh and free from any hint of self-parody. A decade later, they would release Christmas on Mars -- a bizarre sci-fi movie that was one part Tarkovsky to two parts Ed Wood. "Christmas at the Zoo" was a taste of what was to come. Like Jeffrey Goines in Terry Gilliam's film Twelve Monkeys from the same year, the protagonist of the song decides to "free the animals all locked up in the zoo". The snakes, seals, llamas, birds and kangaroos, however, refuse to accept his help: "All of the animals agreed they're not happy at the zoo/But they preferred to save themselves." Wayne Coyne's lazy, drawling vocals are, as ever, a joy and the arrangement is perfectly off-kilter.

 

Quasi - "Merry X-mas" (2006)

Quasi's Sam Coomes and Janet Weiss are better known as members of Heatmiser and Sleater Kinney, respectively; both were members of Elliott Smith's touring band and they have served individually as members of Stephen Malkmus and the Jicks, Bright Eyes, Wild Flag and Jandek's live band. Perhaps because of this, Quasi has unfairly been regarded as a kind of side project, even though their seven official albums (mostly released by Domino) are among the best alternative pop records of the past two decades. They are also one of the most visceral live acts around - this despite Coomes's sugar-coated melodies that recall Brian Wilson, Paul McCartney and the Flaming Lips in equal measure. "Merry X-mas" is a barbed, five-minute exercise in self-loathing disguised as a piece of festive fun. "I was a crab, dragging claws through the mire/Down below in the murky depths of nowhere," Coomes sings. And that's just in the first two lines.

 

Emmy the Great and Tim Wheeler - "Home for the Holidays" (2011)

Of the year's indie Christmas songs, this collaboration between Emmy the Great and Tim Wheeler stands out in large part for its unashamed sentimentality. It's like a John Hughes movie in song form and the video (imagine EastEnders, as scripted by Nick Hornby) adopts seasonal clichés with good humour. "Did you ever write that book? Did you ever make it out of here?" sings Emmy -- questions that most of us do our best to avoid.

 

Gorky's Zygotic Mynci - "Christmas Eve" (1999)

Gorky's was always a modest group -- a delicate Welsh band that folded just as the nu-folk movement they helped to inspire was entering the indie mainstream -- and this brief twinkle of a song captures them at their most understated. Where other Christmas songs (not least several of the above) tend towards Spectorised bombast and kitsch, "Christmas Eve" only announces its subject in its final moments, after an extended, vaguely Spanish-sounding instrumental: "The star you fell in love to comes out on Christmas Eve."

 

Grandaddy - "Alan Parsons in a Winter Wonderland" (2000)

Last year, Jason Lytle, formerly of Grandaddy, gave away a set of piano instrumentals on his website as a Christmas present to his fans. The collection's simplicity was in keeping with the aesthetic of Lytle's first solo album, Yours Truly the Commuter (2009), which stepped back from the spaced-out eccentricities of his band's output while retaining the imaginative flourishes we have come to expect. Such flourishes are amply on display on "Alan Parsons in a Winter Wonderland", which reworks the old Christmas chestnut as a tribute to the prog-rock producer and engineer Parsons (best known for his work with Pink Floyd and his own group the Alan Parsons Project). What could have been an industry in-joke is redeemed by its deep affection for its subject, which permeates both the warm, synth-based production and the lyrics: "In the meadow, we could build a snowman/And pretend that he is Alan Parsons . . ."

 

Dump - "Another Lonely Christmas" (2001)

It's easy to forget that, as well and R'n'B and hip hop, Prince has cast a long shadow over alternative rock -- compare Ryan Adams's "Hotel Chelsea Nights", say, with "Purple Rain". James McNew, bassist for Yo la Tengo, surprised fans and critics alike with his 2001 album That Skinny Motherfucker with the High Voice, issued under his Dump moniker. Skinny consists entirely of songs by Prince, reinterpreted as lo-fi, post-rock doodles, and McNew's versions bring to the surface the exhilarating melancholy of the originals (an aspect of Prince's writing that is all too often overlooked). This is no truer than on "Another Lonely Christmas", a movie in miniature about love, death and loneliness. I couldn't find a YouTube video online, but it can be streamed here.

 

Bright Eyes - "Blue Christmas" (2002)

Like Low, Bright Eyes released a whole album of Christmas songs in collaboration with his Saddle Creek label mates and their cover of "Blue Christmas" was its highlight. The lead singer, Conor Oberst, opts for an impassioned but straight-ahead performance that manages to capture the spirit of the season without resorting to sleigh bells or any other Christmas gimmick.

That's my list, off the top of my head. So -- any other suggestions?

Finally, I couldn't resist doing a new one of my own. I've done a few before, including "Yo Zushi's Christmas Story", which appeared on the 2005 album Songs from a Dazzling Drift, and the 2009 song "Another Song di Natale" (both on Pointy Records); in a (festive) spirit of competition, here's "Merry Christmas", which you can download for free on Soundcloud.

Yo Zushi works for the New Statesman. His music is released by Pointy Records.

 

Yo Zushi is a sub-editor of the New Statesman. His work as a musician is released by Eidola Records.

Photo: Getty
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If the left leaves it to David Cameron, we'll have Brexit for sure

Only an upbeat, leftwing case can keep Britain in the European Union.

After months flapping and hesitation, and with much of the reporting and detail so dull that it has barely penetrated the consciousness of even those who speak the language of ‘directives’ and treaty provisions, the EU referendum is upon us. With David Cameron signalling concrete outcomes for negotiations, we seem to be set for June, whatever the protests from opposition parties about the date being too close to local and national elections.  

Cameron’s deal, whose most substantive element consists of denying in-work benefits to European citizens, exemplifies the kind of debate that Conservative strategists want to create: a tedious, labyrinthine parochialism, blending the EU’s procedural dullness with an unquestioned mythology of the little Englander. Try actually reading the various letters, let alone the draft decisions, that Cameron extracted from Donald Tusk, and the agreement turns to putty in your head. But in summary, what Cameron is negotiating is designed to keep the EU debate as an in-house affair within the right, to continue and formalise the framing of the debate as between two strains of anti-migrant sentiment, both of them backed by big business.

The deal may be reactionary, but it is also mediocre in its scope and impact. The worries that many of us had in the leftwing pro-In camp, that Cameron’s deal would push back freedom of movement and working and environmental protections so far that we would be unable to mobilise for continued membership of the EU, can now be put to bed. Quite the opposite of allowing Cameron's narrative to demoralise us, the left must now seize an opportunity to put imagination and ideas back at the heart of the referendum debate.

The British political landscape in which that debate will play out is a deceptively volatile environment. Party allegiance is at a nearly all time low. Inequality is growing, and so is the gap between attitudes. The backbone of the UKIP vote – and much of the Out vote – will come from a demographic that, sometimes impoverished by the legacy of Thatcherite economic policy, sees itself as left behind by migration and change. On top of the class war, there is a kind of culture war underway in today’s Britain: on one side those who see LGBT rights, open borders and internationalism as the future; on the other side, those who are scared of the future. About the only thing these groups have in common with one another is their anti-establishment instincts, their total disdain and mistrust of politics as usual.

The only political movement to have broken through the fog of cynicism and disillusionment in British politics has come from the left. Jeremy Corbyn’s rise to the leadership of the Labour has unleashed something new - and while large parts of the press, and some Labour backbenchers, have portrayed this rise as a crusade of the “croissant eating” metropolitan elite, the reality is very different. The rise of the new Labour left has given voice to a renewed socialist and working class politics; its explicitly radical, outsider approach has given it traction across the social divides – among the young looking for a future, and among Labour’s old base. 

A politics of hope – however vague that term might sound – is the only real answer to the populist Euroscepticism that the Out campaign will seek to embody. Radical politics, that proposes an alternative narrative to the scapegoating of migrants, has to find voice in the course of this referendum campaign: put simply, we need to persuade a minimum wage worker that they have more in common with a fellow Polish migrant worker than they do with their employer; we need to persuade someone on a social housing waiting list should blame the privatisation of the housing market, not other homeless families. Fundamentally, the real debate to be had is about who the public blames for social injustice: that is a question which only the left can satisfactorily answer.

The outsider-led volatility of British politics gives the EU referendum a special kind of unpredictability. For voters who have lost faith in the political establishment – and who often have little materially to lose from Brexit – the opportunity to deliver a blow to David Cameron this summer will be tempting. The almost consciously boring, business-dominated Britain Stronger In Europe campaign makes a perfect target for disenfranchised public sentiment, its campaigning style less informed by a metropolitan elite than by the landed gentry. Its main weapons – fear, danger and uncertainty – will work on some parts of the electorate, but will backfire on others, much as the Better Together campaign did in the Scottish referendum.

Last night, Another Europe is Possible held a launch meeting of about a hundred people in central London - with the backing of dozens of MPs, campaigners and academics across the country. It will aim to provide a radical, left wing voice to keep Britain in the EU.

If Britain votes to leave the EU in June, it will give the Right a mandate for a renewed set of attacks on workers’ rights, environmental protections, migrants and freedom of movement. But without an injection of idealism and radicalism,  an In vote will be a mandate for the status quo - at home and in Brussels. In order to seize the real potential of the referendum, the left has to approach the campaign with big ideas and demands. And we have to mobilise.