Music
The best kept secret in music
Press
The Fact that local garage band The Ordinary’s lead singer is a Liverpudlian import explains the bands Britpop snark. The group’s infectious EP, “Don’t Let Me Die a Waiter” (Audiction), is full of crunchy guitars and sharp lyrics.
- Time Out New York
Not only are they weary of a menial service position, but they're rebelling against a decade of boring British pop. Fans of Oasis and Radiohead may be turned off by the tendency to rock. Part of this blame goes to the four New Yorkers backing Jamie Sweetman's Liverpuddlian rantings. High on American fuel, the Englishman spits blasts of acid over combustible lyrics like: "I don't want to get into a title bout/I got a heavenly TV and radio/and I don't want to be a part of your fashion show/ I wonder what high society is doing tonight/ I want to go and see the supermodels fight, fight, fight." In the grand tradition of McClusky and The Libertines, their middle-class frustration is too pissed off to indulge in self-pity. Sweetman brings the heat down to simmer on "Pretty People" but you feel it bubbling and building. He does a neat trick of pulling his measures up to a vulnerable crack, almost emulating the harmonics the guitar is producing. When they vent, the exhaust is made up of aggressive rock and roll with a punk singer clinging to the hood. At this velocity you just have to belt it out, damn the torpedoes and pitch will have to catch up where pitch can. It may not be pretty but it sure is beautiful. The vehicle is a great storming bass by Josh Kemp driving monumental guitar riffage and rolling, rumbling, smashing drums from Josh "Robo" Tussin. Johnny Nassau and Nick Zelletz produce the most satisfyingly edible, explosive riffs I've heard in years. There's a low-slung approach at work that goes over well in biker bars and prison-yard beatings. Beyond the tea and cheeseburger esthetic, The Ordinary have set themselves apart with an exciting and irresistible sound. I do think fans of Black Rebel Motorcycle Club may find an interest.
- Hybrid Magazine
Anything but ordinary…Luckily there are still new Indierock bands upcoming that do not bring every listener to yawning. The Ordinary are one of those and their EP “Don’t Let Me Die a Waiter” is one of those records that are much to short. What is also positive about this band is that their lyrics tell real stories and generate a lot of tension. To keep it short: Exciting debut that arouses fancy for more.
- Enough Magazine
What sets this inappropriately-named NYC band apart from most young outfits these days, is an electrifying, urgent Pistols-ish drive, fueled by the punishing, gripping dual guitars of Johnny Nassau and Nick Zelletz, and a crack rhythm section in bassist Josh Kemp and drummer Joshua Tussin. Singer Jamie Sweetman actually hails from Liverpool and he's a bundle of energy and nerves, infusing every song with his British attitude and wit. The claustrophobic opener, "Summer in the Weeds" brings to mind The Effigies (think "Haunted Town"), while the adrenalin-packed "Klepto Wives" bristles with such fury, I imagine it's the second coming of The Ruts. The other three tunes, especially the sneering "TV and Radio" are nearly as great. Keep this up, guys, and you can kiss those waiter jobs goodbye sooner than you think.
- The Big Takeover Magazine
When a band is hailed as being the new NYC sound, you know it can't be half bad. New York has always had a lot of good Rock 'N' Roll and punk names, with a big potential to break through on the (inter)national scene. The Ordinary are no exception. The heart of the band is, however, from Liverpool, not that it shows in their musical style though - you'll find no Beatles on this CD. Instead, you'll find 5 tracks with an understated punk feeling to them, and lyrics that'll actually make sense to you, even if you're not a Molotov-cocktail swinging anarchist. I know I said you can’t tell the band "leader" is from Liverpool, but somehow you can sense the English indie feel to this record, it’s somehow present, even if you can’t put your finger on it. It’s English, without being pop, its NYC without being hardcore punk. It's also not genius, but who cares when you find a record that, at times, gives just a little meaning to your life, and manages to portray punk-rock as more than just a way of blowing off steam. 4 out of 5 (Fantastic, like in really, really good)
- Lowcut Magazine
Discography
Don't Let Me Die A Waiter - EP
Streaming Tracks on Amazon.com, Download.com, MySpace.com, PureVolume.com, TheOrdinaryNYC.com
Photos
Feeling a bit camera shy
Bio
There’s only a few influences we all agree on really. We've not done this forever and didn't all grow up together, that’s why we don’t sound like a band trying to sound like another band.
Half of the time we get a review and someone name-checks a sound-like and I've got no idea who they are (see Idlewild/The Effigies). Others, friends of ours read comparison and say there is no fucking way you sound like them (see Dismemberment Plan/The Wedding Present). I'm not dissing these cats I just don’t know them.
If we all knocked around together as kids there would have been five turn it ups if Bowie, Sabbath, The Beatles, The Stones, Iggy, The Kinks, The Sex Pistols or The Clash came on. If we were listening to a station and Nirvana, Queens of the Stone Age, Kings of Leon, Dandy Warhols, Jonestown or Radiohead came on, the DJ would live to spin another song or a commercial for a wholesale butchers out in Long Island. If the Smiths or Echo and the Bunnymen came on, I'd be happy and go on about the words and Johnny’s eyebrows would just do that thing.
I lent Johnny the first Stone Roses album two years ago, I got it back last week and he just shrugged his shoulders and shook his head.
Kemp will find a reason for you to listen to anything he likes and he's usually right, his favorite thing is a point where a song lurches or spirals into a train wreck, I don’t think he regrets any CD in his collection, which is a sign that someone has great fucking instincts. Misfits to Moby, Dandys to Dylan.
Tussin loves Keith Moon and drummed Tommy the musical on tour I saw him, it was incredible. He made us a much better band when he joined. He's into Dave Mathews's drummer as well which gives us all the horrors but he's really intricate himself it’s just that we don’t noodle.
Zelletz will listen to anything. It doesn't matter if you give him grief about that either he doesn't give a shit, good for him.
I came through Liverpool, so when I was growing up everything was always retro and stoned out, Floyd, Crimson, Tangerine Dream, Zappa* my first gig was Marillion at the Royal Court I was 12, I haven't been able to listen to any of those bands for years (but Zappa still gets a spin). The stuff I should have been onto but was a little to young I got into when went to work at sea The Smiths, Joy Division, Pale Fountains etc.
As far as influences goes nothing is front and centre we just lean on each other and keep finding out what we sound like.
If this helps you great! If not, read what the professionals have to say in the press section of this EPK.
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