I’m Dreaming Of A Mute Christmas

It’s that special time of the year where the sounds of well-worn Christmas hits from yesteryear fill playlists and people begin to debate whether ‘Fairytale Of New York’ really is the best Christmas song of all time.

With some help from my good friend and Mute afficionado Jorge Punaro, I here present a trawl through the back catalogues of Mute artists past and present to deliver an alternative compilation of seasonal songs; songs that range from the traditional, the just plain festive and on to the downright tenuous. Jorge has meticulously prepared a Spotify playlist containing everything we could get our hands on (and many more songs than I’ve covered here). For your optimal listening experience, Jorge’s should be listened to while drinking one of the cocktails from Erasure’s Snow Globe box set.

I often think of Erasure at Christmas, mostly because I remember receiving a 7″ of ‘You Surround Me’ in 1989 in my stocking. The year before, Vince Clarke and Andy Bell narrowly missed securing the coveted Christmas number one slot with Crackers International, an EP which led with ‘Stop!’ but also included the moving ‘She Won’t Be Home’ (renamed ‘Lonely Christmas’ on the slightly dubious The Erasure Christmas Gift 7″); elsewhere on the EP, the duo delivered a spooky version of the traditional carol ‘God Rest Ye Merry Gentlemen’ complete with authentic choir-boy vocals from Bell, while two years before the pair did a relatively throwaway take on ‘Silent Night’ for the US Yulesville promo LP (the same year that Clarke’s former Yazoo band mate Alison Moyet had contributed ‘The Coventry Carol’ to the compilation A Very Special Christmas). The limited formats of Erasure’s ‘Am I Right’ EP (1991) featured a festive Me Company design of Christmas trees with a photo of a young boy holding presents, while Andy Bell co-hosted Channel 4’s Camp Christmas in 1993, with musical accompaniment from Vince. Andy also featured in a short film called I Hate Christmas as a market stall worker.

2013 was the year that Erasure went all-out Christmas with the celebrated release of Snow Globe. The album collected a number of classic Christmas songs, including ‘Silent Night’ and ‘God Rest Ye Merry Gentlemen’ in updated splendour, as well as some of Vince and Andy’s own tracks. The limited-edition box – or should I say the obligatory limited-edition box, since if Mute did one thing in 2013 it was to ensure that their avid fans went without their turkey after spending out a small country’s GDP on ever more elaborate and expensive box sets – included a bauble, balloon, a packet of sweets and some Erasure-themed cocktail recipes. 

Other artists who’ve covered Christmas songs include Echoboy, who released a special split EP with Six By Seven for a Christmas show in Nottingham in 1999 which included a very alternative version of ‘Silent Night’. Richard Hawley also delivered a very easy listening take on ‘Silent Night’ for a special one-track CD given away to people who attended his show in Sheffield in December 2006; during winter gigs and on radio Hawley has also covered ‘Blue Christmas’, made famous by Elvis Presley, but I haven’t heard a recording of that yet (if anyone feels charitable enough at this time of giving to send me one in the name of research, please get in touch). 

In the wake of their 2008 album Seventh TreeGoldfrapp found time to record a beautifully jaunty version of ‘Winter Wonderland’ for a US Starbucks compilation, while former Blast First act Sonic Youth recorded a sketchy and somewhat unpleasant version of Martin Mull’s ‘Santa Doesn’t Cop Out On Dope’ for a 1996 compilation, which is definitely one for completists only. 

For Can completists, the veteran Krautrockers put out an ultra-twee take on ‘Silent Night’ way back in 1976 on Virgin in the UK. The Residents launched their audacious avant-garde music career with Santa Dog in 1972, a double 7″ single mailed out to various people featuring four tracks by various pseudonymous artists, all of whom were actually The Residents themselves (whoever they are). The band have released several other versions of Santa Dog since 1972 – in 1978, 1998, 1992 (‘Show Us Your Ugly’), 1999 (Refused), 2006, 2012 (SD12) and a fiftieth anniversary version in 2022. Way back in 1956, occasional Blast First artist Sun Ra co-opted the alias The Qualities and issued the doo wop 7-inch ‘It’s Christmas Time’. Backed with the sincere blues of ‘Happy New Year To You!’ this curiosity remains one of the most surprisingly accessible pop releases in the expansive Ra catalogue, and proof that they celebrate the holidays on Saturn just like they do here on Ra’s adopted home.

Einstürzende Neubauten stalwart F.M. Einheit and Caspar Brötzmann recorded an album called Merry Christmas which Paul Smith‘s label put out in 1994, but it isn’t at all festive and, besides, it was released in May that year. Still, the album’s sleeve of a hand-drawn tank reminds me of troops putting down arms during World War II, so maybe there’s a connection to the festive season somewhere on this album after all. Mute US duo The Knife recorded a song called ‘Reindeer’ for their eponymous album in 2001; as if the song wasn’t festive enough already with its lyrics about Santa, The Knife issued a version with Christmas bells (renamed ‘Christmas Reindeer’) in 2006 as a free download. In 2023, The Knife’s Karin Dreijer (Fever Ray) released a new album, Radical Romantics, featuring the track ‘North’. Jorge and I like to think she was referring to the North Pole.

Holger Hiller’s eponymous last album for Mute in 2000 included the track ‘Once I Built A Snowman’, while Ben Frost’s 2017 album Music From Fortitude opened with ‘This Is Not Christmas’. Andreas Dorau, he of one-time Mute group Die Doraus Und Die Marinas, has recorded two Christmas songs. ‘Weihnachten Ist Auch Nicht Mehr Das Was Es Mal War’ is a bouncy electropop track that appeared on Staatsakt’s Santo Klaus sampler in 2016, and just over ten years earlier, he released the track ‘Weihnachten Im Wald’ as a limited-edition of 100 CDs for a Carhartt jeans promotion.

The Jon Spencer Blues Explosion‘s 1992 Sub Pop Singles Club 7-inch paired together two excellent tracks – the wild rockabilly gestures of ‘Big Yule Log Boogie’ and the ‘Blue Christmas’-esque ‘My Christmas Wish’. Josh T. Pearson became the first Mute artist to deliver a whole EP of Christmas songs, with his maudlin Rough Trade Bonus disc getting released in 2011 as a Rough Trade shop exclusive accompanying his Mute debut, Last Of The Country Gentlemen. This year, Pearson issued a new song, ‘2020’s Silent Night Hindsight’ straight to YouTube, and a more perfectly cynical take on a shit year you will be hard-pressed to find.

In 2012, Canada’s Ladan Hussein, variously known as Al Spx and later Cold Specks covered Mary Margaret O’Hara’s ‘Christmas Evermore’ for a Christmas compilation, complete with brass and obligatory messages of peace and hope and a bit of Diamanda Galás-esque tremulous wailing. The debut Cold Specks album, I Predict A Beautiful Expulsion (2012) also features the stirring track ‘Winter Solstice’.

Looper‘s 2003 album The Snare features the haunting and evocative ‘New York Snow’, while the ‘Intro’ track on M83‘s Hurry Up, We’re Dreaming has dreamy lyrics about walking in snow. Way back in 1982, Yazoo’s Upstairs At Eric‘s included the sparse ‘Winter Kills’ and an orchestral version of ‘Only You’ was used in a Boots TV ad in 2017. A year before Upstairs At Eric’s, future Mute artists A Certain Ratio recorded the irrepressable long-form funk track ‘Winter Hill’ for their To Each album, while, some twenty years later, Nick Cave & The Bad Seeds released the wintery ‘Fifteen Feet Of Pure White Snow’ in 2001, regrettably the closest the songwriter has yet come to recording a seasonal song. Surely there’s a Christmas album in St. Nick somewhere? Moby‘s never officially done a Christmas track either, though he did remix the late arch-crooner Tony Bennett’s ‘I’m Coming Home For Christmas’ in 2007, but the track was only ever released as a promo.

Maps, known to his parents as James Chapman, kicked off his pre-Mute career as Short Break Operator, including the haunting ‘Some Winter Song’ as the first track on his debut EP from 2003. In fact, of all the Mute roster, Maps is easily the most prolific Christmas-loving artists. He recorded the frosty ‘Sparks In The Snow’ for his second single, went on to cover East 17’s ‘Stay Another Day’ for a promo CDr and released ‘Merry Christmas (My Friend)’ straight to Soundcloud in 2013, which is among the most atmospheric things Chapman has ever recorded. 

Later still, 2016 Chapman’s collaboration with former Mute artist Polly Scattergood, On Dead Waves, yielded two Christmas songs in the form of a cover of ‘In The Bleak Midwinter’ and the track ‘Winter’s Child’ that closed the duo’s only album together. In 2022, Polly Scattergood released her own Christmas track, ‘Snowburden’, which followed this year’s career-defining and intensely personal album In This Moment. The new song found the singer somewhere between Laurie Anderson-esque sound art and sensitive balladeering.

In 2020, one of Mute’s longest-serving sons, David Baker – one half of I Start Counting, Fortran 5 and Komputer – released ‘The Lights Of The Pub’, a charity single under his Joanna-tinkling alias Dave The Keys in aid of his local London boozer, The Lamb on Holloway Road. Dave (now working as lonelyklown) unwrapped another Christmas treat in 2022 with the emotive ‘Winter In London’, and this year popped ‘I Believe In Snow’ under your burgeoning Mute Christmas tree.

Speaking of charity, here’s a shameless plug: in 2012, Documentary Evidence compiled MuteResponse, a double download charity compilation album intended as a tribute to Mute’s legacy, and also to rule off the first ten years of writing this very site. On MuteResponse #1, I was able to include one-time Credible Sexy Units act Vic Twenty‘s ‘Christmas In Korea (New Year In Japan)’. Angela ‘Piney Gir’ Penhaligon and Adrian Morris recorded the track years ago but it was never officially released until the MuteResponse compilation. I first heard this track years ago during an interview with Morris, and I always wanted to make sure that others would get to hear it, and so I was delighted to let the song see the light of day. Incidentally, Piney’s done plenty of other Christmas songs, one of my personal favourites being the lovely ‘For The Love Of Others’ in 2009. You can find MuteResponse over at Bandcamp.

So we’ve surveyed the traditional and the festive – what about the tenuous? Look no further than Mute’s most bankable act, Depeche Mode, whose only obvious Christmas connection was Dave Gahan delivering a festive message on the aforementioned Yulesville compilation. However, a year earlier, Depeche’s Alan Wilder and Martin Gore penned the track ‘Christmas Island’ as the B-side to ‘A Question Of Lust’; it isn’t remotely festive, it was released in May that year, it’s named after an island in the Indian Ocean, but it’s got the word Christmas in the title and so, dubious though it is, onto the Dreaming Of A Mute Christmas playlist it goes. Sticking with the theme of tenuousness, former Depeche member Alan Wilder (Recoil) included a track called ‘Freeze’ on 1992’ s Bloodline. And what do you know? Vocals on that track were provided by Moby.

Another member of the extended Mute alumni family, Beth Jeans Houghton (Du Blonde) dropped the misanthropic ‘It’s Christmas And I’m Crying’ in 2023, a track that even Ebenezer Scrooge would find miserable. But hey! Christmas is supposed to be fun, and so here’s a version of The Normal’s ‘Warm Leatherette’ by The Bombshelter Brigade, re-titled ‘Merry Christmas’ and taken from the 1988 compilation Christmas At The Bombshelter.

Happy Christmas to Mute fans everywhere. 

Words: Mat Smith 
Spotify playlist and Mute Navidad nous: Jorge Punaro 

(c) 2023 Documentary Evidence & Jorge Punaro. Earlier versions of this feature were published in 2012, 2013, 2020 and 2022. If we’ve missed anything let us know and we’ll get them added in.

MixBus With Kevin Paul

On January 10 2020, producer Kevin Paul begins a series of podcast interviews with fellow studio stalwarts including fellow former Konk resident Dave Eringa and other names familiar to Mute collectors such as Dave Bascombe, Flood, Danny Briottet, Pascal Gabriel and Gareth Jones.

“It came out of listening to podcasts about the recording studio and music production,” explains Kevin. “I could hardly find anyone talking about people from the UK. I thought, ‘I know a few people, so I’ll call them and ask if they want to speak to me and if I get 5/6 then I’ll start a series.’ Incredibly, everyone said ‘Yes’ and I thought ‘Oh my god, I’d better get going!”

Key to the format of the podcast is a relaxed, accessible tone distinct from similar podcasts which go heavy on technical detail. “It’s just me and my guest talking informally about their career and their approach to music,” continues Kevin. “It’s designed to let the guest just talk openly about whatever they want, really. There’s plenty of people who do super technical podcasts already and they do that very well. I’m hoping anyone interested in how records are made can enjoy my podcasts.”

Kevin is himself no stranger to Mute, having worked on countless records for the label between 1992 and 2012. His association with the label began with work on the Pro-gross Three remix of Nitzer Ebb’s ‘Ascend’ and Phil Kelsey’s expansive remix of ‘Take A Chance On Me’ from Erasure’s chart-topping ABBA-Esque EP. “I ended up at Mute through my time at Konk studios,” he recalls. “‘Ascend’ was actually the first record I’m credited on so carries a special place in my career. Mute was such a creative place to be that there are too many highlights to list: I worked with pretty much every artist on Mute and its subsidiaries at one point, including The KLF, Appliance, and Paul Smith’s Blast First. I mixed Goldfrapp’s first album, Lovely Head. I met and worked with Nick Cave & The Bad Seeds and David Bowie, who spent time at Worldwide Studios recording some of his Hours… album, and I worked on the 5.1 remixes of the Depeche Mode back catalogue. That’s just a few of the things I’m really proud of.”

Nitzer Ebb – Ascend (cdmute145, 1992) featuring Kevin Paul’s first credit (track 2).

Kevin’s series arrives at a time where the ease with which artists can make music without relying on expensive studio time potentially puts the traditional roles of producer, mixer and engineer under threat. Nevertheless, he still sees the value that a good quality studio team can provide. “Studio people are there to help artists make the best music they can make, in whatever form that takes,” he says. “In order to achieve that, we must do whatever that entails.”

The KP MixBus podcasts will be available from January 10 2020 on your favourite podcast app on iOS and Android, and from www.kpmixbus.com. The first in the series finds Kevin chatting with Catherine Marks (St. Vincent, Local Natives, Wolf Alice, White Lies, PJ Harvey, Frank Turner and many others).

(c) 2019 Documentary Evidence

Goldfrapp – Black Cherry

Goldfrapp’s second album finds the duo moving from the chilled ethereal ambience of Felt Mountain into a sort of robotic retro-modernism. There are moments that nod in the textural direction of their debut, such as the serene title track or the beautiful ‘Deep Honey’, but on the whole Black Cherry is a harder, more direct affair.

Black cherry was always the flavour of yoghurt that no-one else wanted from the fridge in our household, a weird vestigial throwback to 70s faux sophistication, no doubt achieved via an array of bitter E numbers; it’s one of those ‘love it or hate it’ flavours, and I guess this analogy works well regarding this album. In many ways, the disparity between Felt Mountain and this may not taste good to some who only bought their debut for its chilled vibe and its placement in the voguish late 90s chill out compilation canon. Personally, I loved black cherry, and I love Black Cherry.

Alison Goldfrapp‘s voice has always possessed a certain sensuality which has the capacity to draw you in and surround you with half-whispered temptations. That tone is best evidenced on the penultimate track, ‘Forever’, which is full of achingly seductive promise, Alison’s captivating vocal expertly accompanied by Will Gregory‘s chastened electronic textures and a sort of Beatles-y psychedelia. Elsewhere, the opener, ‘Crystalline Green’ is a hypnotic stream of words set to a jerky electro rhythm, while the prowling multiple climaxes of ‘Slippage’ that end the album edge forward with a nagging, ‘Nightclubbing’ pace and a large pinch of burlesque noir.

At times, Black Cherry is a thoroughly over-sexed, occasionally grubby affair, with the single ‘Twist’ getting as close as the duo ever dared get to the sound and imagery of Peaches. The gritty square wave-dominant sound that dominates parts of the album is both extreme and a shock to the system after their spell working the ambient torch song ephemerality of their debut. Singles like the glam-infused ‘Train’ and the deftly ubiquitous – yet utterly subversive – ‘Strict Machine’ more or less defined a new, more urgent and confrontational dimension to the Goldfrapp sound, one that allowed them to slip effortlessly – but perhaps unexpectedly – into a new and eclectic early 2000s anything-goes pop movement.

Catref: stumm196
Words: Mat Smith

Originally posted 2003; edited and re-posted 2019 to coincide with the vinyl reissue of Black Cherry.

(c) 2019 Documentary Evidence

Tricky feat. Alison Goldfrapp – Pumpkin (from Maxinquaye, 4th & Broadway album, 1995)

Back in the day, Alison Goldfrapp could occasionally be found adding her vocals to all sorts of tracks, the most prominent of which tended to be by Orbital and where, for no discernible reason, she went under the name ‘Auntie’. One of my favourite pre-Goldfrapp Alison Goldfrapp collaborations is this track with Massive Attack alumnus Tricky. I can’t fathom a word she’s saying since it has that jazzy wordless style that Orbital liked to deploy as a textural component of their tracks, but which is here presented as a foreground to this sluggish trip-hop piece. Her strange, Shirley Bassey-esque vocal is the perfect foil to a delivery from Tricky that rasps with a stoner’s ramblings. In the background, the samples run from folksy ethereality (something Goldfrapp would investigate years later with Seventh Tree) and a scratchy grunge passage not dissimilar to Butch Vig’s mix of Depeche Mode’s ‘In Your Room’. It might not be patch on other tracks on Maxinquaye, but it all adds to the quiet confidence exuded by Tricky on his first solo record.

Elsewhere on the album, occasional Mute producer and Rhythm King stalwart Mark Saunders adds his production nous to most of the tracks here, including the seminal, much-quoted ‘Brand New You’re Retro’.

(c) 2017 Mat Smith / Documentary Evidence

Goldfrapp – Twist / Train slipcases (Mute, 2003)

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Issued by Mute in 2003 to house the various formats of the ‘Twist’ and ‘Train’ singles by Goldfrapp. I’m selling both of these. They can be found on eBay here and here.

(c) 2016 Mat Smith / Documentary Evidence

Goldfrapp – Head First (Mute Records album, 2010)

  

mute records | lp/c/cd/i stumm320 | 22/03/2010

Head First finds the duo of Alison Goldfrapp and Will Gregory abandoning not only the hippy etherialism of last album Seventh Tree but also the confrontational, over-sexed electronica – in the vein of, say, Peaches and Client – in favour of a pure pop sound. At first you’d think that this is intended to permit Goldfrapp to drop neatly into the current trend for female-fronted synth pop acts a la La Roux, Little Boots, who are intent on sweeping up the vast electronica vistas of the Eighties and claiming them as their own; but this is released on Mute, which has been producing quality, credible and enduring electronic music since before the Eighties were even born. Specifically, I’d suggest the influence of Vince Clarke during his late Eighties analogue renaissance would be a principal marker for the noises offered up on Head First.

This is synth pop at its shimmering, shiniest best. I’ve not listened to an electronic pop record for many years (probably since Erasure‘s last) that’s had me so captivated from the opening seconds. In Head First‘s case, that opener is the sublime first single ‘Rocket’ and is quickly followed by ‘Believer’, which starts with minimal pulsing beats before snapping into a huge sing-along chorus the likes of which Goldfrapp seem set on nurturing across most of Head First.

The second single, ‘Alive’ is a ballsy, disco-y track (in the vein of, say, Stock Aitken and Waterman’s take on the genre with Big Fun perhaps) which neatly encapsulates the vibe of Scissor Sisters. ‘Dreaming’ is probably my personal favourite song here – beginning with pulsing synths and breathy words that I can barely decipher, it’s the pleasantly uplifting chorus which provides the core emotional hook of the track. Title track ‘Head First’ sounded to me like an Abba cover with its simple piano lines and grandeur-filled bridge, and I wasn’t surprised to see journalists reviewing the album citing the same similarity. It’s a beautiful love song that the Andersson-Ulvaeus could feasibly claim as being descended from one of their own.

‘Hunt’ is less pop and more like something that the Goldfrapp / Gregory duo may have delivered up on Felt Mountain. The electronics sound submerged and minimal and Goldfrapp’s vocal reminds of how broad her sonic range can be. ‘Hunt’ shares some similarities with the only dip across the whole album, closing track ‘Voice Thing’, which, as its name suggests features Goldfrapp’s voice (wordlessly singing as she did on the Orbital records from years gone by) as a textural instrument. It’s clever, certainly, but a bit low-key compared to the rest of the album. ‘Shiny And Warm’ – a fast-paced and fairly minimal piece – is a song I’m not especially keen on, but it’s growing on me gradually. ‘I Wanna Life’, however, with a few more Abba overtones and a massive dose of Fame-esque optimistic cheeriness is much better.

Overall, this is a brilliant album, setting the duo off on an exciting new course. A couple of below par tracks aside, this really is essential listening for anyone looking for authentic electronic pop music from this consistently inventive pairing.

A cassette version of Head First was released by Mute for Record Store Day 2010.

lp/c/cd/i:
1. Rocket
2. Believer
3. Alive
4. Dreaming
5. Head First
6. Hunt
7. Shiny And Warm
8. I Wanna Life
9. Voicething

First posted 2010; re-edited 2015

(c) 2015 Mat Smith / Documentary Evidence

Will Gregory Moog Ensemble, All Saints Church, Hove 15/05/2014

Image

DSC_1960 DSC_1954 Will Gregory Moog Ensemble, All Saints Church, Hove 15/05/2014 - (c) Andy Sturmey Will Gregory Moog Ensemble, All Saints Church, Hove 15/05/2014 - (c) Andy Sturmey

Will Gregory Moog Ensemble performing at All Saints Church, Hove 15/05/2014.

Photos used with kind permission of Andy Sturmey (Brightlights-Darkroom Photography).

Click individual images to enlarge.

(c) 2014 Andy Sturmey / Brightlights-Darkroom Photography

Goldfrapp – Tales Of Us (Mute Records album, 2013)

Goldfrapp 'Tales Of Us' LP artwork

mute artists | lp+cd/cd/dl/box stumm356 | 09/09/2013

Apparently neither Alison Goldfrapp nor Will Gregory were happy with Head First, their 2010 ballsy, largesse-filled electronic disco album. Tales Of Us is, compared to that record, a much more subtle affair, closer in hue and texture to Felt Mountain‘s glacial soundscapes or Seventh Tree‘s naturalist folk leanings.

Subtle is the operative word here. Throughout Tales Of Us there’s an impression of much larger songs, great, strident moments even, but with few exceptions everything feels like it’s been rubbed away, leaving just an ethereal impression of what might have been there before. Guitars are strummed gently, sounds quietly murmur in the background fleetingly and Alison’s voice is delivered as little more than a ruminative whisper throughout most Tales Of Us. I’ve always found it difficult to decipher what she is singing about, and that’s even more of a challenge here; short of the word ‘caribou‘ on ‘Ulla’ which stands out almost preposterously on ‘Ulla’, I really struggle to crack the quiet musings across Tales Of Us.

Tales Of Us is presented as a series of ten character studies, each one a story about, or delivered by, the person named in the track’s title, making for – at least on paper – a personality crisis of multiple imagined identities, while the list of names might be the register of a private school classroom in a posh part of West London. As above, I can’t really make out anything in particular from the lyrics I can hear, but suffice to say the resultant theme is one of mournful serenity. That theme is evoked most prominently by the use of string arrangements, which I’m sure will get described as ‘lush orchestrations’; combined with the gentle guitar chords Tales Of Us runs the risk of sounding a little bit like it should be filed under the easy listening section (‘Drew’ even seems to remind me of ‘Strangers In The Night’ at one point).

Aside from the unassailable, ephemeral beauty of ‘Annabel’ or the ‘Blue Room’ dub pulse of ‘Thea’, taken as a whole I do find Tales Of Us a little safe. That these songs are pretty, delicate things is without question, but it just doesn’t feel terribly new. ‘Stranger’, for example, sounds like it was lifted straight from Felt Mountain. It’s undoubtedly arresting, undeniably emotional, but just a bit unadventurous after the brash pop of Head First. For me it proved to be the perfect soundtrack to watching clouds moving imperceptibly from 30,000 feet up.

Tales Of Us was released in several formats including the by now obligatory overstuffed, expensive, probably handmade boxed edition. A video was made for ‘Drew’, which can be viewed below.

Track listing:

lp+cd/cd/dl:
1. Jo
2. Annabel
3. Drew
4. Ulla
5. Alvar
6. Thea
7. Simone
8. Stranger
9. Laurel
10. Clay

First published 2013; edited 2014.

(c) 2014 Mat Smith / Documentary Evidence