Think of all the truly awesome things that Merge Records has accomplished in its 20-year existence. Not only has the label—founded in the late ’80s by Superchunk members Laura Ballance and Mac McCaughan—released countless 7″ singles, LPs, and at least one boxed-set by myriad worthy artists, but they’ve pulled off a few truly improbable feats. Merge basically invented the tolerable use of brass in indie-rock. Before Neutral Milk Hotel, the best you could get was June of 44’s Fred Erskine playing balloon-on-scalp-style free jazz trumpet. The label also put out countless Lambchop records, even though Europeans were the only people who listened to them.

But most remarkably, Merge has grown into a widely successful record label in the most humble and respectable way possible—keeping their business personable, modest, and honest. Our Noise: The Story of Merge Records, an oral history assembled by John Cook alongside Ballance and McCaughan, tells the label’s story through countless photographs, fliers, and extensive interviews. Washington City Paper recently spoke with McCaughan, who will be reading selections from the book tonight at Crooked Beat.

Q&A after the jump:
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What it is: Multi-instrumentalist Julian Koster, of Neutral Milk Hotel and The Music Tapes fame, performs traditional Christmas songs arranged entirely for singing saw–an instrument which produces a sound that is not unlike a slowly deflating balloon.

The bike under the tree: As a devout fan of The Muppets, the guest-Sleigher finds some pleasure in hearing a version “Silent Night” that sounds as if it is being sung by Beaker.

The lump of coal: With its unsteadily oscillating tones the singing saw might rival the slide-whistle for the title of “Most Depressing Instrument Ever.” It is difficult for the guest-Sleigher to listen to Koster’s interpretation of “Oh Come All Ye Faithful” without being plagued by visions of sad clown-hobos shivering in a rail yard alongside a starving dog and a dwindling campfire.

Cheer factor: Zero. Negatory. Practically non-existent. Still, as far as non-traditional Christmas music goes, the ethereal and downright bizarro sounds that Koster elicits from the saw make a preferable alternative to whatever Mannheim Steamroller is up to this year.