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 contributing writer for the New Statesman. His latest album, It Never Entered My Mind, is out now on Eidola Records and is on Spotify here.

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Staying in the EU would make it easier to tackle concerns about immigration, not less

Brexit is not only unlikely to deliver the control people want, it may actually undermine people’s faith in the system even further.

As Theresa May prepares to set out her latest plan for Brexit in Florence on Friday, those on all sides of the debate will wait to see if there are answers to fundamental questions about Britain’s future outside of the EU. Principle among those is how the UK immigration system will work. How can we respond to Leave voters’ concerns, while at the same time ensuring our economy isn’t badly damaged?

We must challenge the basic premise of the Vote Leave campaign: that dealing with public’s concern about immigration means we have to leave the EU and Single Market.

In fact the opposite is true. Our study into the options available to the UK shows that we are more likely to be able to restore faith in the system by staying within Europe and reforming free movement, than by leaving.

First, there are ways to exercise greater control over EU migration without needing to change the rules. It is not true that the current system of free movement is "unconditional", as recently claimed in a leaked Home Office paper. In fact, there is already considerable scope under existing EU rules to limit free movement.

EU rules state that in order to be given a right to reside, EU migrants must be able to demonstrate proof that they are either working, actively seeking work, or self-sufficient, otherwise they can be proactively removed after three months.

But unlike other continental systems, the UK has chosen not to operate a worker registration system for EU nationals and thus has no way of tracking where they are or what they’re doing. This could be changed tomorrow, if the government were so minded.

Other reforms being discussed at the highest levels within Europe would help deal with the sense that those coming to the UK drive down wages and conditions. The UK could make common cause with President Macron in France, who is pushing for reform of the so-called "Posted Workers Directive", so that companies seeking to bring in workers from abroad have to pay those workers at the same rate as local staff. It could also follow the advice of the TUC and implement domestic reforms of our labour market to prevent exploitation and undercutting.

Instead, the UK government has chosen to oppose reform of the Posted Workers Directive and made it clear that it has no interest in labour market reform.

Second, achieving more substantive change to free movement rules is not as implausible as often portrayed. Specifically, allowing member states to enact safeguards to slow the pace of change in local communities is not unrealistic. While the principle of free movement is a cornerstone of the European project, how it is applied in practice has evolved. And given that other countries, such as France, have expressed concern and called for reform, it is likely to evolve further.

The reforms to free movement negotiated by David Cameron in 2016 illustrate that the EU Commission can be realistic. Cameron’s agreement (which focused primarily on benefits) also provides an important legal and political precedent, with the Commission having agreed to introduce "safeguards" to respond to "situations of inflow of workers from other Member States of an exceptional magnitude over an extended period of time".

Similar precedents can be found within a number of other EU agreements, including the Acts of Accession of new Member States, the European Economic Area (EEA) Agreement and the Treaty on the Functioning of the European Union (TFEU). The UK should seek a strengthened version of Cameron’s "emergency brake", which could be activated in the event of "exceptional inflows" from within the EU. We are not the first to argue this.

Of course some will say that it is unrealistic to expect the UK to be able to get more than Cameron achieved in 2016. But put yourself if in the shoes of the EU. If you believe in a project and want it to succeed, moral imperative is balanced with realism and it hardly needs pointing out that the political context has radically shifted since Cameron’s negotiation.

In contrast, a "hard Brexit" will not deliver the "control of our borders" that Brexiteers have promised. As our report makes clear, the hospitality, food, manufacturing and social care sectors heavily depend on EU workers. Given current employment rates, this means huge labour shortages.

These shortages cannot be wished away with vague assertions about "rejoining the world" by the ultra free-market Brexiteers. This is about looking after our elderly and putting food on our tables. If the UK leaves in April 2019, it is likely that the government will continue to want most categories of EU migration to continue. And whatever controls are introduced post-Brexit are unlikely to be enforced at the border (doing so would cause havoc, given our continued commitment to visa-free travel).  Instead we would be likely to see an upsurge in illegal migration from within the EU, with people arriving at the border as "visitors" but then staying on to seek work. This is likely to worsen problems around integration, whereby migrants come and go in large numbers, without putting down roots.

We can do this a different way. The important issues that most drive public concern about EU migration - lack of control, undercutting, pace of change - can be dealt with either within current rules or by seeking reform within the EU.

The harsh truth is that Brexit is not only unlikely to deliver the control people want, it may actually undermine people’s faith in the system even further.

Some will say that the entire line of argument contained here is dangerous, since it risks playing into an anti-immigrant narrative, rather than emphasising migration’s benefits. This is an argument for the ivory tower, not the real world.

There is a world of difference between pandering to prejudice and acknowledging that whilst EU migration has brought economic benefits to the UK, it has also created pressures, for example, relating to population churn within local communities.

The best way to secure public consent for free movement, in particular, and immigration in general, is to be clear about where those pressures manifest and find ways of dealing with them, consistent with keeping the UK within the EU.

This is neither an attempt at triangulation nor impractical idealism. It’s about making sure we understand the consequences of one of the biggest decisions this country has ever taken, and considering a different course.

Harvey Redgrave is a senior policy fellow at the Tony Blair Institute for Global Change and director of strategy at Crest Advisory.