2024 Indie Holiday on Mixcloud

Indie holiday songs, unlike their mainstream counterparts, are often an unpolished celebration of the quirky, the imperfect, and the raw. Maybe it’s an odd take on a Carol or a rousing ode to jingling bells sung by a motley choir. To truly understand what makes these songs stand out, we must first look at the world of indie music itself. Indie artists, who thrive on identities of authenticity, willingness to take risks and creative freedom, often take traditional holiday tropes and turn them upside down. For example, Dolph Chaney sings a rocking version of “Jingle Bells” to Van Halen’s Panama. These artists carve their own paths, making holiday tunes that feel like a moment of honesty amidst the well-worn path of commercial jingles and grand orchestras.

So, what does it take to craft a great indie holiday song?

The heart of it is emotion, not necessarily the big, grand gestures associated with festive anthems. It is not simply about snow, ice, and a blanket of white, Indie songs lean into subtlety, sometimes with a melancholic twist that contrasts with the usual holiday cheer. Picture a song with hushed vocals that almost sound like they’re being whispered just for you, with soft guitar strums or synths that pull at your heartstrings in a way that’s intimate, not loud. This feeling of quietude is what gives the song an unrelenting emotional weight. It’s not about being in your face; it’s about creating a space where the listener feels like they’re a part of something private, something personal. It’s a kind of vulnerability that mainstream holiday tunes often lack. Of course, there is also the sarcasm, picture of the Waitresses’ “Christmas Wrapping” or The Ramones’ “Merry Christmas (I Don’t Want to Fight Tonight)” as examples of mixing the dark with the season of light. The Killers twisting the convention of Santa Claus with “I Feel It In My Bones” is a delightful dark take on the rules imposed by that red suit-wearing perhaps not-so-jolly Kringle.

Just because a holiday song is quiet does not make it unimportant. Take a song like Sufjan Stevens’ “Christmas in the Room”. Here, Sufjan’s delicate falsetto paired with minimalistic instrumentation creates a sense of emotional distance, yet closeness at the same time. The song doesn’t scream “holiday” but gently reflects on love, loss, and the passing of time — which, when you think about it, is what the holidays are all about. This blend of melancholy and nostalgia is a defining feature of the best indie holiday tracks: they understand that the holiday season is often complex, not just filled with cheer, but tinged with reflections on the year gone by.

Another key element for an indie holiday is quirkiness. Indie music, after all, is about breaking norms, and holiday songs should reflect that characteristic. Where mainstream holiday music might rely on brass bands, bells, and bells (again, just in case you missed it), indie artists will look to different sound textures: distorted vocals, electronic flourishes, offbeat rhythms. They play with expectation. A holiday song that’s anything but “sugary sweet” — one that challenges conventions, and presents an alternate universe where the holidays aren’t just a simple happy ending, can be far more impactful.

The lyrical themes of indie holiday music also elevate it above typical holiday fare. Instead of the generic joy and family love, these songs may dive into topics like loneliness, isolation, or the bittersweet nature of reunions. Kathleen Edwards sings about simply surviving the holidays, which flies in the face of how we are “supposed” to feel during the holiday season. Come on, isn’t the relief when it’s all over demonstrate the truth in the lies we tell ourselves about forced cheerfulness.

Think of the way indie artist Phoebe Bridgers reinterprets festive themes — there’s always a sense of both humor and sadness woven through her lyrics. Embracing the positive and negative side of the human condition does not take a holiday during the holiday season.

Sure, there can be some room for reflection on personal growth, the complexities of relationships, and how the holidays can bring those things into sharp relief. This makes indie holiday songs so relatable, as they tap into the messy realities that many people face during the season. This realism is a much-needed counterpoint to the consumer-driven holiday cheer that often drowns out any feelings of uncertainty or sadness.

A final note on what makes a great indie holiday song is the power of uniqueness. A truly great indie holiday song sounds like nothing you’ve heard before. It doesn’t rely on the same old cliches or harmonic progressions. Instead, it experiments with sound, emotion, and form, creating something that feels new yet timeless. I know that sounds oxymoronic, and perhaps it is. It may not be a song you’ll hear on every department store playlist, but that’s precisely why it stands out.

We can imagine that what makes a great indie holiday song is its ability to feel — to evoke something real in pain, in joy, in anticipation, in being let down. Maybe a good holiday indie tune gives us a few minutes of genuine emotion, whether joy, melancholy, or nostalgia. It’s about being authentic and true to oneself, embracing imperfections, and telling a story that feels real, even within the fantastical world of holiday music, where we sing about flying reindeer, jolly old elves, snow creatures, and toys.

Full YTAA Faves of 2024 Show on Mixcloud!

Every year, like clockwork, the music world implodes into its annual rite of passage: the “Best of” lists. It doesn’t matter whether we need them or not. We could all be listening to something that absolutely shreds, some obscure record that deserves reverence. Still, here we are, obsessing over arbitrary rankings, as if these lists will unlock some divine, objective truth. It is as if, somehow, this tiny, self-appointed cult of critics, bloggers, and tastemakers can distill the whole sprawling mess of 365 days of music into neat little categories that tell you what was really good.

It’s a bit comical, really. These lists are nothing more than trendy cultural currency, an exercise in opinion policing. As if, come December, we all need some authority to tell us what albums we should have liked. Sure, there are some gems in those Top 10s, some records that hit like a lightning bolt, that maybe wouldn’t have been discovered without the almighty guidance of Pitchfork or Rolling Stone. But let’s not kid ourselves – the list itself is a product, a marketing tool, another algorithm feeding on your desire for validation. The music may be real, but the rankings? Please.

Every December, the ritual plays out like a predictable drama: the same predictable indie hits, the same half-baked arguments, the same flavor-of-the-month that gets hyped until the world collectively shrugs and moves on. It’s all just noise. And yet, we devour it like it’s gospel, eagerly waiting for the validation that maybe, just maybe, our choices are “correct.” But here’s the thing: music is personal. These lists? They’re just noise. It’s time we recognize them for what they are: empty, meaningless packaging for a world that’s forgotten how to just listen.

And with all that said, we do an annual show featuring several hours of bands, musicians, songs and albums that impressed the hell out of us. But not going to make some silly rank order, just a bunch of songs that we thought were incredible. So, yeah if this is a bit speaking from both sides of the mouth, so be it.

Our YTAA Faves of 2024 show includes music from many excellent musicians, such as Tamar Berk, Wussy, Palm Ghosts, Nada Surf, Waxahatchee, MJ Lenderman, JD McPherson, Jeremy Porter, Former Champ, Jason Benefield, J. Robins, Dreamjacket, David Payne, Bad Bad Hats, Bike Routes, Brian Wells, The Campbell Apartment, Amy Rigby, The Armoires, Librarians With Hickeys, Bottlecap Mountain, Liv, The Popravinas, The Nautical Theme, Smug Brothers, The Cure, The Reds, Pinks & Purples, The Umbreallas, Nick Kizirnis, Guided By Voices, and The English Beat and The Tragically Hip re-releases.

So, if this is just another end-of-the-year ritual that nobody needs but everybody wants, then maybe it is worthwhile as a way to share some of the music that deserves to be heard.

Favorites of 2023: Just the List

This time of the year every music writer’s fancy turns to the ubiquitous quest for the best of/favorites of the year. We start with a list of albums and singles we played on YTAA at least three or four times. Then we consider what songs and records slipped into our consciousness and we spent more time simply thinking about that song, that album — those words. If there is a pattern to what we loved in 2023, it is a bit hard to pin down. If we take a wild stab at an answer, 2023 was a year of amazing music from powerful, strong, thoughtful women musicians. From the incredible voice of Sarah Rudy in Hello June to the authenticity of Kim Ware and Van Plating across to the irresistible guitar tones and perfect singing of Tamar Berk, Blondshell, Beth Bombara, and Lydia Loveless, so many outstanding records were made outside of the men’s club this past year — and that is a welcome change.

Every writer, just like every music fan, has styles and sounds that they are irresistibly pulled towards. Clearly, Dr. J loves guitar. For some writers the list is likely to be diverse, reflecting a fusion of genres and innovative production techniques. And that is fine. With the continued influence of technology, some writers are drawn to artists who experimented with new sounds and collaborate across musical boundaries, creating a sonic outcome that resonates. For other writers, the search for a pure direct authenticity of instruments lead them to the streets where the music is painted without electronics. Acoustic and stripped down arrangements played on traditional equipment bring gratitude to the heavens for that music from some writers.

When crafting a list of favorites from the year, some writers will consider representation. Genres such as indie pop, electronic, and hip-hop may continue to dominate, with emerging artists bringing fresh perspectives and pushing creative boundaries. Collaborations between mainstream and indie artists could lead to unexpected yet captivating musical experiences. Shoegaze, for example, has made many returns after some commentators spilled tremendous amounts of ink over the idea that shoegaze had come and gone. Music in the year 2023 saw several bands who represented that style.

Lyrically, many of the themes explored in 2023 revolve around social issues, personal growth, feeling whatever the artist needs or desires to feel, perhaps some of the “Best” representations for the year are the songs that grab and do not let go of the human experience. Artists may use their platforms to address pressing matters, providing listeners with thought-provoking content that goes beyond mere entertainment and that might be the magic that some writers are drawn to when considering all the records and songs that came out during one trip around the sun.

There are some ‘off limits,’ ‘don’t walk on the grass’ ideas for us here at Your Tuesday Afternoon Alternative. Sure, the rise of virtual and augmented reality experiences may revolutionize the way music is consumed, offering immersive and interactive performances that redefine the traditional concert experience. But for us, human beings need to be part of the creation and experience of music. Streaming platforms might incorporate cutting-edge technologies to enhance the listener’s engagement with the music and while we can and should debate the lack of compensation, which is only going to get more challenging in 2024, AI generated melodies, tones, and arrangements of notes are not considered for inclusion on our favorites of the past year.

The best albums of 2023 could be those that not only showcase exceptional musical talent but also tell compelling stories or provide a unique perspective on the world. Artists who successfully blend innovation with authenticity may find themselves at the forefront of critical acclaim and commercial success and, to be entirely transparent, will immediate draw our attention for a favorites of the year.

Ultimately, the best music of 2023 will likely be a subjective experience, as individual tastes vary widely. However, it is important to consider this a reflective exercise. Every year is poised to be an exciting time for music enthusiasts, with a plethora of sounds and styles to explore, pushing the boundaries of what we thought possible in the world of music. Every year is full of promise. No annual march of the calendar is without merit and new experiences. So, to create a list of the music that moved you in 2023, is not to close the door to new auditory love but to remember we break our hearts so we can fall in love again with songs and albums we have not even heard yet.

The list below is our start on our favorites from this past year. A longer set of articles will come out exploring what it was that caught our attention in these albums and songs.

Favorite record for us in 2023:

Hello June – Artifacts

You can read our review of this fantastic record!

This music transcends time and place, resonating with listeners in their quest for meaning and understanding. The lyrics serve as a mirror, reflecting the innermost thoughts and emotions that often remain unspoken. Hello June’s “Artifacts” is a sonic masterpiece — and we are prepared to die on that hill to defend that assertion — that deserves a place in the hearts of all music fans. It is a timeless record that captures the essence of the human experience, a treasure chest of emotions waiting to be discovered with each listen. 

In no particular order of importance but records that we believe were mightily impressive:

The 1984 Draft – Best Friends Forever

The Replacements – Tim Let It Bleed Edition (Ed Stasium Mix)

Tamar Berk – Tiny Injuries

Smug Brothers – In The Book of Bad Ideas

Elephants and Stars – Get Your Own Army

The Nautical Theme – Get Somewhere

Palm Ghosts – I Love You, Burn in Hell

Van Plating – Orange Blossom Child

Lydia Loveless – Nothing is Gonna Stand In My Way Again

Kim Ware – Homely

Bottlecap Mountain – O Fantastik Melancholy

Beth Bombara – It All Goes Up

Nicholas Johnson – Shady Pines Vol. 2

The Pretty Flowers – A Company Sleeve

The Connells – Ring (Deluxe Edition)

Black Belt Eagle Scout – The Land, The Water, The Sky

Blondshell – Blondshell

Achilles Tenderloin – Tincture for Trouble

Mike Bankhead – I Am Experienced

Jason Isbell and the 400 Unit – Weathervanes

Some of our Favorites of 2023:

Arthur Alexander – …Steppin’ Out!

Mommy – Be Your Own Pet

Frankie Rose – Love as Projection

Cold Expectations – Static Reactions

Connections – Cool Change

The Connells – Set The Stage

Dolph Chaney – Mug

En Attendant Anna – Principia

Graham Parker & The Golden Tops – Last Chance to Learn the Twist

Guided By Voices – Nowhere to Go But Up/Welshpool Frillies

H.C. McEntire – Every Acre

Jess Williamson – Time Ain’t Accidental

John P. Strohm – Ready for Nothing

Jphono1 – Invisible Futures and Make Believe Pasts

Louise Post – Sleepwalker

Love Rat – Howl at the Moon

Matt Moran – Heartache Kid (Acoustic)

The Radio Field – Don’ts and Do’s

Shannon Clark & The Sugar – This Old World

Special Friend – Selkie

Tino and DJ Marrrtin – La Pie Bavarde

Trapper Schoepp – Siren Songs

Singles

No One Sphere – Fingerz to Lips

Elephants and Stars – Bled Out At The Scene

David Payne – Best Intentions

We Met In Paris – Mont Blanc Massif

The National – Eucalyptus

sparkle_jets uk – He’s Coming Out

The Well Wishers – So Important

Tod Weidner – Raising Pain

Mike Bankhead – Latent

Given Names – Makin’ Eyes

Cowboys in The Campfire – Here We Go Again

Teenage Fanclub – Foreign Land

Hannah Jadagu – Lose

High on Stress – Over-Thru

Jeremy Porter and the Tucos – Five-Foot-Three and Tiger Eyes

Tyler Childers – Rustin’ in the Rain

Kurt Lee Wheeler – We Will Travel

Honorable Mentions

Yo La Tengo – This Stupid World

Amber Hargett – Coal Mine Canary

Brainiac – The Predator Nominate EP

Quiet Signals – Quiet Signals

Bottlecap Mountain is on the show today!

One of Dr. J’s favorite bands, Bottlecap Mountain, will be in Dayton on Tuesday, March 28, 2023, and that is a cause for celebration.

After a visit to Your Tuesday Afternoon Alternative for an interview and some live acoustic songs during our second hour they will play a set at Blind Bob’s in Dayton tonight!

Imagine a great indie pop rock band with a side of funk and a Replacements meet Uncle Tupelo vibe. This is a band that has no problem stepping into various genres and styles — Folk, Indie, Americana, Rock, or even Power Pop — with a sense of humor and sly social commentary served with a side of melody.

Do not let the band’s playfulness disguise the lyrically rich storytelling and musicianship that they can demonstrate in a single song like ‘Canoe’ or ‘Dream On, Come On’. The bass lines, keyboard, and slashing guitar on ‘AstralFunk’ show how the band can make a slinky funky tune that will carry you along. “Resurrection Blues’ has a powerful pull that recalls Folk and Americana at their most urgent. And this band rocks! ‘My Little Demon’ is an honestly heavy, bluesy confection that urges all of us to soulful reflection.

Their latest album is a well-made affair while keeping a whimsical look at the subjects of everyday life. They are tight, and not afraid of crunchy guitars, bubbly bass, and a keyboard foundation which is a real pleasure. In fact, one of the strengths of the band is the ability to move from quiet to loud or vice versa without being jarring or precious. The vocals on the record are nothing short of perfect. This is a record to be played loudly and often.

Come see the Austin, Texas quartet play songs from their sixth album ‘O! Fantastik Melancholy’ at Blind Bob’s tonight!

Today on YTAA

Tuesdays are our favorite days! Radio day!

Tons of new music. Some indie classics. We love radio day. Today we are spotlighting music from Nicholas Johnson, Kim Ware, Bottlecap Mountain, and Nick Kizirnis!

The set list includes songs from our good pal Nicholas Johnson, High on Stress (from Minneapolis, MN), Kim Ware, Librarians with Hickeys (Ohio by way of Big Stir Records), BAILEN, ODESZA, Panic Pocket, Connections (from Columbus, Ohio), POPSICKO (seriously Big Stir records roster is an impressive lineup of great indie powerpop), Iguana Death Cult, Unkown Mortal Orchestra, ALIENS, The Band of Heathens, Bottlecap Mountain, James, Genevieve Artadi, The Speedways, The 1984 Draft (Dayton, Ohio), M83, The Housemartins, Daughter, Nick Kizirnis (Dayton, Ohio), Phoenix, Beach Bunny, The Connells, Greg Dulli, Achilles Tenderloin, Steady Holiday, Let’s Active, Nicole Yun, The Tisburys and The Replacements.

We will be chatting about some exciting shows on the horizon from Nicholas Johnson, The Pinkerton Raid, Age Nowhere, Bottlecap Mountain, and more happening in our hometown of Dayton, Ohio.

Listen along from 3-6pm on WUDR Flyer Radio

Matt Derda Best of 2022

One of our favorite discoveries of the past few years was Matt Derda & The High Watts! They released a stellar record in 2022 and so we thought what better way to celebrate an amazing year in music than to ask Matt to write about a few of his favorite releases from this past trip around the sun, and to our joy he agreed!

Thank you, Matt!

2022 was definitely the year of independent music for me. Most of the music I listened to this year was by bands that aren’t signed to a label or receiving tons of press, although they should be. As you’ll see from this list, I think they are just as good as one of the all-time greats, who also released a new, unexpected album this year.

Matt Moran – Heartache Kid

‘Matt Moran’s Heartache Kid is what Country music is supposed to sound like. I grew up listening to Country music in the 90s and it wasn’t until the late 90s/early 2000s that mainstream country music turned south (pun intended). Until then, there were a lot of gems regularly on the radio, but occasionally they would play Travis Tritt and you’d resist the urge to jump out of the car, into traffic on the highway. Heartache Kid is reminiscent of ’90s Country music and there is not a bad track on it. I warn you if you listen to this record, songs like Palomino, Heartache Kid, and Black Sedan will be stuck in your head for weeks. But it’ll be okay because you’ll love them.

Favorite song: Palomino

Bottlecap Mountain – Fib Factory

One of my favorite discoveries on social media is the Austin, TX-based band Bottlecamp Mountain. I discovered them via Twitter and we’ve since become friends. Their songs are prolifically melody, with a little bit of grit and just enough twang. It’s perfect. Their songs are catchy and sound big. They fill up the space and make you emotionally connected to the songs. The lead single from this album, “Kool,” is a song I wish I had written. It’s a fun banger that is all about what you deemed dope back in your younger days. I’ve put the song “Tin Can Belief” on many playlists. It’s got a jangly rock vibe that combines R.E.M., Big Star, The Replacements, Soul Asylum, and the Gin Blossoms. If you are a fan of 80s/90s indie rock, you’ll want to spin this record.

Favorite Song: Tin Can Belief

Elephants and Stars – Last Chance Power Drive

Now I’ll change things up with a band that is straight-up rock n roll. Elephants and Stars are based in Toronto, Canada. I don’t know what to say about them other than they are perfect. They’ve quickly become one of my favorite bands. They know how to write a chorus and I’m a sucker for a great chorus. Each song is an anthem that you picture a giant audience singing along to. I got a preview of this record before it came out and I’ll tell you what I told them, it’s everything I wanted from an E&S record. Have you ever heard a song you loved by an artist and you bought the album hoping all of the songs would sound like that only to be disappointed? Last Chance Power Drive will not disappoint. It’s all songs that are what you want to hear. To me, that is a perfect record. Also, I should note there is an amazing cover of the song “I Really Want to See You Tonight” on this album. The original song is not my jam at all. However, Elephants and Stars kick it into overdrive. Actually, power drive is the perfect term to describe not only this album but Elephants and Stars music overall.

Favorite song: Turn It All Around

Eddie Vedder – Earthling

In 1993 I received a scholastic book magazine at school. One of the items was a VHS tape of music videos set to highlight clips of NBA players. Being a huge basketball fan, I somehow talked my parents into ordering a non-book from Scholastic. One of the videos on the VHS was clips of Seattle Supersonic Shawn Kemp dunking to Pearl Jam’s song Go. I was hooked. As I grew up, Pearl Jam, and especially the lyrics of Eddie Vedder played a huge role in my life and helped me get through those terrible teenage angsty years. Now, he’s helped me get through a global pandemic. 

This year Eddie Vedder released the unanticipated Earthling, partnering closely with Andrew Watt. The story behind the album is that it wasn’t really planned, they just started making it and it came together pretty fast. You can tell by the songs that Vedder had things in him that just needed to get out. 

One of the critiques I’ve heard of the album is that a lot of the songs sound like other artists. Once you know the stories behind those songs, it makes a lot of sense. The Long Way sounds like it was a Tom Petty cover. In fact, Benmont Tench plays on the song and they got his organ out of the Heartbreakers clubhouse for the first time since Tom’s death for this song. Ms. Mills sounds like it could be on Sgt. Pepper. The song is about a piano at Abbey Road Studios that has been named Ms. Mills. Oh, and Ringo Starr played drums on that song.

Another standout is the song Brother Cloud, which is about dealing with the loss of a loved one. It starts off light, but quickly ascends into the stratosphere and closes with an epic fuck you to whoever left him on this earth. The album is great. I highly recommend giving it a listen.

Favorite song: Brother the Cloud