Have a Holly Jolly Steampunky Christmas

So it’s that time of year when you hear holiday songs and CDs by practically every artist under the sun as done one.  Some make sense – like any country artist you can think of – and some don’t – think Judas Priest.  Some artist, you just don’t think of when you think of Christmas CDs.  To me, Abney Park is one of those artists. 

Abney Park have been the leaders of the steampunk music movement since . . . well . . . since people started wearing pith helmets to cons.  The whole point of artist like Abney Park is to create a musical soundscape equivalent to a H. G. Wells or Jules Verne novel.  It’s looking back to the Victorian age while looking forward to the future – if that makes sense.   

Now, jumping to Christmas CDs – I’m very picky about the ones I buy, and I always follow two criteria: do I like the artist and/or does it have a version of “O Holy Night”?  The first criteria is super important to me.  I must thoroughly enjoy an artist to dish out money.  I’ll buy almost anything by Nat King Cole or Bing Crosby or any of the classic artists where every song is guaranteed to be good.   Of more “contemporary” artist, I’ve enjoyed Jimmy Buffett, Leon Redbone, Jethro Tull, and Blackmore’ Night.  Now, the second one.  “O Holy Night” is probably my favorite Christmas song – when sung properly.  There’s that one part of the song – you know the part – where the singer must hit that high part, usually reaching for Pavarroti-esque heights.  When I hear a good version, every hair on my body stands at attention.  When it’s done improperly . . . “eh.”     

Abney Park definitely fits my first criteria.  I’ve followed them ever since they went steampunk, and I’ve enjoyed every cd, especially their unplugged one, Off the Grid.   (And because I didn’t have the opportunity to review it before, here it is: the original songs are great, the revised ones better.)  As for the second . . . Well, if you’ve heard Captain Robert sing, you know he’s no Pavarotti.  I don’t think there’s a high note in his body, and yet “O Holy Night” is track 2.  So I listened.  No, no mysterious high notes here from the Captain, but you know what?  By the end of the song, every hair was doing its thing.  The arrangement was uniquely Abney Park and quite refreshing.  It did not dazzle with vocal prowess, but with its solemnity and dignity.  Jody’s vocals are haunting, as usual, and really push the song into unearthly heights.

Overall, their Christmas album, Through Your Eyes on Christmas Eve, is typical Abney Park.  “We Three Kings” is propelled with tribal rhythms, “The Little Drummer Boy” sort of mechanized, and “Santa Claus is Coming to Town” kind of dark and creepy.  The originals are excellent too.  The title track really captures that sense of sadness and regret that underlies the holiday season.  Captain Robert continues to impress as a songwriter and prove his mastery at musical arrangements once more.

Like the best of Abney Park’s albums, I recommend Through Your Eyes on Christmas Eve even to those who aren’t particularly familiar with the whole steampunk thing.  The arrangements on the traditional songs make them different and new, but also, the title track alone makes this one a worthy listen. 

Enjoy!