Ya know, for a music blog I sure find myself talking about the changing seasons and the weather a whole lot. Granted, I usually tie it into how music and one’s emotional reaction to it are affected by the meteorological changes to one’s environment, but still.
One thing I haven’t discussed yet though is so-called “seasonal music” specifically related to “the holidays.” That might have something to do with the fact that this is my first “holiday season” on the job. But it might also have something to do with the fact that I hate most “holiday music.” It’s not so much the music itself, since I recognize the songcraft of many a standard, and there are even tunes (like Vince Guaraldi’s “Christmas Time Is Here” from the A Charlie Brown Christmas soundtrack… and Arrested Development) that I love with every fiber of my Hebrew being despite their connection with the most Christian of holidays. But the whole cramming of “holiday cheer” in the form of terrible muzak down one’s throat earlier and earlier with every passing year is a bit much. I won’t even touch the issues surrounding the ubiquity of overtly religious songs in what is supposed to be a multi-cultural society.
Listen to “Christmas Time is Here”
As regular readers might have guessed, I am really into the whole evolution of the seasons (which can be a spiritual experience in and of itself) despite my disconnect from much of what constitutes the mainstream “holiday season.” In that respect, and as an extension of my association of music with seasons, I have my very own brand of “holiday music.” It mostly takes the guise of that “cold weather music” I’ve talked about a couple times. This type of music is exemplified by songs like Echo and the Bunnymen’s “The Killing Moon,” which is a nice Fall transition song, and albums like GZA’s Liquid Swords, which is probably the most Winterly record of all time. And this season a kid from Los Angeles, California (not a city known for stark, chilly Winters) named Jeremy Jay has added a new entry to my alternative “holiday music” list with a six-song EP called Airwalker.
I think I heard the title track on college radio a couple weeks ago when I was in Worcester for the M.I.A. show at the Palladium. The song caught the attention of everyone present with Emeyesi remarking that it sounded like “somebody imitating The Cure” and Miss Behavin’ and myself retorting “you mean Joy Division.” And sure, there are shades of Ian Curtis in Jay’s stoic baritone, as well as Martin Hannett’s spacious, Dub-influenced production in his music, particularly on “Airwalker” and “Lunar Camel.” But there’s also a bit of that aforementioned Echo and the Bunnymen vibe, especially on piano-fueled tracks like “We Stay Here (In Our Secret World)” and “Can We Disappear.” And I’m even tempted to compare his vocals to Violent Femmes‘ (a group whose music is equally effective regardless of the season) front-man Gordon Gano at times.
Listen to “Airwalk”
I don’t know about “walking on air,” but it’s perfect for blocking out the shrill sounds of a “traditional holiday” when briskly walking on my neighborhood’s ice-slicked sidewalks.
- El Keter
