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.

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“We can’t do this again”: Labour conference reactions to Jeremy Corbyn’s second victory

Overjoyed members, determined allies and concerned MPs are divided on how to unite.

“I tell you what, I want to know who those 193,229 people are.” This was the reaction of one Labour member a few rows from the front of the stage, following the announcement of Jeremy Corbyn’s victory at the Labour party conference. She was referring to support received by his defeated contender, Owen Smith, who won 38.2 per cent of the vote (to Corbyn’s 61.8 per cent).

But it’s this focus on the leader’s critics – so vehement among many (and there are a lot of them) of his fans – that many politicians, of either side, who were watching his victory speech in the conference hall want to put an end to.

“It’s about unity and bringing us all together – I think that’s what has to come out of this,” says shadow cabinet member and MP for Edmonton Kate Osamor. “It shouldn’t be about the figures, and how many votes, and his percentage, because that will just cause more animosity.”

Osamor, who is supportive of Corbyn’s leadership, is not alone in urging her colleagues who resigned from the shadow cabinet to “remember the door is never shut”.

Shadow minister and member of Labour’s National Executive Committee (NEC) Jon Ashworth – not a Corbyn loyalist, but focusing on making the shadow cabinet work together – shares the sentiment.

Standing pensively in front of the now-empty stage, he tells me he backs shadow cabinet elections (though not for every post) – a change to party rules that has not yet been decided by the NEC. “[It] would be a good way of bringing people back,” he says. “I’ve been involved in discussions behind the scenes this week and I hope we can get some resolution on the issue.”

He adds: “Jeremy’s won, he has to recognise a number of people didn’t vote for him, so we’ve got to unite.”

The former Foreign Secretary Margaret Beckett, another MP on the NEC, is sitting in the audience, looking over some documents. She warns that “it’s impossible to tell” whether those who resigned from Corbyn’s shadow cabinet would be willing to return, and is concerned about talent being wasted.

“We have a lot of excellent people in the party; there are new people now in the shadow cabinet who have had a chance to show their mettle but you need experience as well as ability,” she says.

Beckett, who has urged Corbyn to stand down in the past, hopes “everybody’s listening” to his call for unity, but questions how that will be achieved.

“How much bad blood there is among people who were told that there was plotting [against Corbyn], it’s impossible to tell, but obviously that doesn’t make for a very good atmosphere,” she says. “But Jeremy says we’ll wipe the slate clean, so let’s hope everybody will wipe the slate clean.”

It doesn’t look that way yet. Socialist veteran Dennis Skinner is prowling around the party conference space outside the hall, barking with glee about Corbyn’s defeated foes. “He’s trebled the membership,” he cries. “A figure that Blair, Brown and Prescott could only dream about. On average there’s more than a thousand of them [new members] in every constituency. Right-wing members of the parliamentary Labour party need to get on board!”

A call that may go unheeded, with fervent Corbyn allies and critics alike already straying from the unity message. The shadow justice secretary Richard Burgon is reminding the PLP that, “Jeremy’s won by a bigger margin this time”, and telling journalists after the speech that he is “relaxed” about how the shadow cabinet is recruited (not a rallying cry for shadow cabinet elections).

“If Jeremy wants to hold out an olive branch to the PLP, work with MPs more closely, he has to look very seriously at that [shadow cabinet elections]; it’s gone to the NEC but no decision has been made,” says Louise Ellman, the Liverpool MP and transport committee chair who has been critical of Corbyn’s leadership. “That might not be the only way. I think he has to find a way of working with MPs, because we’re all elected by millions of people – the general public – and he seems to dismiss that.”

“If he sees it [his victory] as an endorsement of how he’s been operating up until now, the problems which led to the election being called will remain,” Ellman warns. “If we’re going to be a credible party of government, we’ve got to reach out to the general electorate. He didn’t say anything about that in his speech, but I hope that perhaps now he might feel more confident to be able to change direction.”

Corbyn may have called for cooperation, but his increased mandate (up from his last stonking victory with 59.5 per cent of the vote) is the starkest illustration yet of the gulf between his popularity in Parliament and among members.

The fact that one attempt at a ceasefire in the party’s civil war – by allowing MPs to vote for some shadow cabinet posts – is in contention suggests this gulf is in danger of increasing.

And then where could the party be this time next year? As Osamor warns: “We should not be looking at our differences, because when we do that, we end up thinking it’s a good thing to spend our summer having another contest. And we can’t. We can’t do this again.”

Anoosh Chakelian is deputy web editor at the New Statesman.