For those new to the annual New Year Ninety – every two hours and two minutes on the 1st of January from 05:05 until 23:23 UTC a section of the chart is published, a chart based on the Readership activity on the associated sites over the year – resulting in the Ninety bands.
Whilst reflective of you as a reader of the site, it is, as you will note, not a chart in which anyone is able to vote, rather calculated on various algorithms, which do take in to account whether a band has only been featured first in December as opposed to in January or earlier, amongst other factors. This is intended to make the chart a more genuine representation of the readership and based on actual events, not who is the band with the most active fanbase… from 80 – 71…
The English protest-rock quartet White Ape have always been a delight to feature over the years since first appearing on the site back in 2014.
White Ape – photo credit – Rupert Hitchcox
Word arrives that Sotones Records – A label based in Southampton (England) are set to release the LP SOTONES10 on the 3rd of November to celebrate their 10th anniversary. I know, I know you are wondering where is this preamble leading…
…well the thirteenth track on that eighteen track album is by White Ape with a gnarling saw against egregious consumption in a track which once again displays their ability to deliver engaging music whilst wrestling with issues of societal iniquities with Eat More Meat.
It is often possible to appreciate the integrity of musical output even, though perhaps even more importantly, when the context of a song is in condemnation of ones own lifestyle and not feel in the least flustered by so doing. Music that stands on its own traction with fortitude of message always deserves space, to my mind – and as a meat eater, it is with some pleasure that once again I tempt you to the delicacy that is White Ape.
The English new-wave quartet White Ape released the three track single Drones Clones Ramones a few hours ago.
Opening with the title track the distinctive vocals of Tommy Mack strides purposefully in to the room surrounded by a strident phalanx of instrumentation that pulverises all before it and my pick of the release, signifying the malcontent which has emerged ever more forcefully each time White Ape have been returned to…
… since their introduction back in 2014with a song by similar title to their first feature though this time round – very different intent – as the good humour and rock-a-billy of A Run For Gringo has been replaced with forceful fusillade of bullets which ricochet around the room finding the listener ducking from the shrapnel in Another Run For Gringo.
The closer is I Get Excited When You Call My Name – a track in which White Ape encapsulate a world where to have a ‘social media’ recognition seems to be the pinnacle of success sought by so many in a snarky frustrated and very angry piece of music, which reminds me of the ability to articulate ideas in abstruse song titles, powerful musicianship and deftly delivered vocals à la The Stranglers – which White Ape is able to do without the use of keyboard.
This has been in my in-box since January – my apologies to the English angst-rock band White Ape, Sotones Records and you for the late delivery of a review of EP Pig’s Head which was released on the 4th.
Introduced back in 2014 as a Rock ‘n’ Roll outfit White Ape have gradually changed Brothel Creepers to 14 Hole DMs over the years with material of more scathing socio-democratic perspective culminating thus far in an EP which for those who follow the politics of the UK will immediately raise an arm in the air with the title ‘Pig’s Head’, or a scowl of indignation – depending on which side of the fence one brawls – for those less au-fait – bear with me and it will all become clearer.
Fucking A Dead Pig’s Head the opener to the EP has to be my pick of the release as it reflects of a story surrounding the current Prime Minister of the UK. More than that the track has a wonderful hip sway that will find you skipping around the dance-floor in joyful footstep as strung out guitar slings loops around the room.
The track which raises White Ape above previous material on Pig’s Head is One Of These Days You’re Going To Get Yourself Killed as they play around with variable tempos threading inside one another and discovers previously unearthed compositional abilities.
Next is the immediately provocative anti-State Religion stance of Barabbas with a pulverising percussion that stamps holes in the walls as the bass bustles supporting pillars and the chorus finds the guitar and vocal joining in and inviting the audience for more leverage to bring the architecture tumbling down. How could I not think you should spend more time to listen to the track than read my words.
Closing the four track EP with Believe in which White Ape bring back those footsteps of rock-a-billy which they play so well and the listener finds themselves in shoe-shuffle to a condensed percussion that thumps off the ceiling in cantankerous mood, a track that reminds me of I Just Can’t Be Happy Today by The Damned and therefore an absolute pleasure to hear.
White Ape have been able to deliver a release from which any track could be the pick of the release – to my mind this should be a quadruple A side single, then I would have had a rationale to share every track with you – I think by now you will spot – even if you are not a regular reader – I am quite fond of the music of White Ape.
The New Year is five hours and five minutes old here in the UK and today is a thread of posts for the New Year Ninety of 2016. My thanks to the readers who can’t actually vote to make up the charts but are those who position the chart order through various algorithms, without you the site would be nothing more than an echo in a very dark chamber.