Year-round Yuletide oddities
Jeremy Lapalme wants to spend, with you, “Christmas at the Movies.” From an amateur revue in Canada. So, showtune.
Le chat au café stumbles thru “Christmas Stories” as a sort of folk rap ballideering about all those TV movies–okay, they’re just specials. But we embrace all.
Radish Friends evoke awkwardness when they set “Holiday Classics. On Television” to the tune of Rocky Horror’s intro number. Lip sync it now.
“A Christmas Film” from Canvas: the human is a rollercoaster of feelings and scenes in a rock genre. Problems with the third act….
Keepers of the Stars compulsively title-drop in the percussively pop “Christmas at the Movies” so much that you begin to wonder if these are lyrics or Mad Libs. Antic.
The Meanwhile rock “Christmas at the Movies” much harder, but their overview includes Gremlins, Ernest, and Muppets. Rock ON.
Troy and Lyric cook sample here there and everywhere for the popping “Christmas at the Movies“. It encompasses all the catharses of the season. Phew.
Cherry Candy’s “Christmas Movies” is electronic practice with as much attention to cinema as to date stuff. Sweaty and insistent.
Mahtie Bush Bru Lei Vangloryus’s “Christmas Movies” are specific and pointed. But this rap seems to use the focus of details as weapons of criticism.
Celebrating “Christmas at the Movies“, Polivka Brothers strum and whistle their folk pop to let you know where to find them 12/25.
Electric Needle Room rattles off the various “Christmas Movies” and their reactions through a bit of the ol’ indie. And out.
“Christmas Movies / Jingle Bells” by Suspender Defenders is more of an odd indie mantra than an actual experience. Peppy, though.
Matt Heaton’s “Christmas Movies” fill him with cheer. Plodding folk runs us through the memories of childhood and on and on.
Film is what we mean when we say media. It may be the most contributory element of culture today. It is our agenda, our mood enhancer, reality. When we argue the good and bad of Christmas, we reference shows and cinema.
The genre of Christmas movies has been overrun by a single romcom formula wherein the birth of the Savior is mere backdrop. Lauryn Marie’s “Christmas Movies” nudges the bear with gentle irony and tinkly pop. It would be great in a soundtrack after the declarations of love.
Jason Michael comes right out with country barking and names the problem: “You, Me & Hallmark Christmas Movie.” Real drunken life isn’t like those.
“Christmas Like the Movies” sets Santa and all the trappings into the doldrums of mumblecore. Richard Watson troubs this folk into the dumps. Love it.
Fun kersplosions in the sky may be limited to Disney World, but they are a fun show.
Jonathan Meur mentions fireworks in re NYC (useta be a thing) among other festivities in the indie “December by the Isle of You.” It’s a love song.
KIMSUNGHOON prefers AI to express the joy of the “Holiday Fireworks Rock Show.” It’s soft rock, more ballideering.
OKXO gets all meh with their “Hell of a Christmas.” Old fireworks ring in the new year like their club rock carried them through one protracted week-long yawn.
Subway Porno’s “Christmas Song” might include New Year’s with the fireworks reflecting in the glasses of champagne. But, it’s an adorable indie about nothing in particular.
The big show in NYC around the holidays must be the Radio City Music Hall Rockettes. Flesh and agility, just like Jesus preached.
Lea Michele includes this shindig in her usual annoying pop “Christmas in New York.” Lots of yelling, i mean vocal range.
Glenn Crytzer scours the world for the best Christmas show, but settles his big band stylings for “Christmas in New York.” Swingin’.
Darryl Gregory explores his Xmas sensuality in his youth when “I Fell in Love with the Radio City Rockettes.” He’s getting his kicks, get it? Folk American rock that may require therapy.
Comics squeeze dollars out of any venue they can. Xmas day event?? Pay is better than family! Besides, the trauma fuels the humor.
Frank Oz as Fozzie Bear kills and dies in the “North Pole Comedy Club.” He’s da bomb.
More raw, “The Bob Narley Show Christmas Comedy 2006” is a Pete da Elf special that runs the gamut of insult to injury.
“Holiday Road Comic” is the exceptional if improvvy rock ballad from Matt Braunger & Mike Phirman about whether there’s anything such as a Xmas night show. The screaming and weeping suffering tickles me.
Musicians gotta eat. They’ll perform shows where and when attendees can pay. Tickets for a live gig make an excellent present. And they’ll provide an excuse to bail on that family gathering.
“Mom Speaks” is that experimental drowning out of spoken word with electronica that seems humorous on one or two levels. Pete Miser sets up the ‘rents for that elementary school assembly.
On the other hand, the concert halls might all be closed. “How Will You Remember This Christmas?” sings Christopher Lennertz (feat Kathryn Gallagher) with haunting pop about faulty recall.
Then there’s the concert tickets you can’t return after that holiday breakup, according to Anna Thompson’s “Christmas Song (Sad).” A country voice over a slow pop track equals an alt moper.
Da Epic Squad get self referential when they offer to “Screw Last Christmas.” It’s rap, but they admit their concerts are ‘noise.’ (Yeah, it disses G. Michaels.)
The Henry Road claim to be “Too Hip for Christmas” when they monotonically chant about being too old for concerts now. Millenial angst with spot on uncategorizable indie.
For the exclusion, the Jesus formal beckons to whities from gens ago.
Darren Criss bounces back from the Glee series with vapid pop in “Christmas Dance.” He’s asking. For this one number.
Mirthyful Sleight sum up all the shenanigans of the season into a “Christmas Dance” rigamarole. Metal protestation.
Chaz Kangas updates us with the grownup mixer “Christmas Dance.” It raps, it polkas, it complains. It’s subtitled ‘The Christmas Travel Song’–so it IS another metaphor.
Telamor daags us back to an actual “Christmas Dance Party.” This indie pop reminds us to see and be seen. to be cool. I guess.
We will dance and sing for Christ our holy king, proclaims Wilder Adkins in the quiet folk of “Christmas Dance (Snow Drop).” No grinding slow dances then.
Musicalité turn our celebrations into a swirling stomp circle of ho hoho-o-o ho-o with an old folk shindig of a “Christmas Dance.” Just when it gets going… it’s gone.
