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. Jonny
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
1. Summer in The Weeds
2. Sweet Rotten Apples
3. Klepto Wives
4. Pretty People
5. TV and Radio
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