(Indie Rock, Garage Rock, Psych, прото-ВОМ) Oneida (13 релизов) - 1998-2011, mp3, 128-320 kbps

01 - Theronymus [02:40]
02 - Go There [05:23]
03 - Salad Days [06:00]
04 - Medium Cool [03:45]
05 - Gandhi For Now [02:19]
06 - Dog Days [03:22]
07 - Ballad of Vaurice [11:29]
08 - El Shaddai's [03:52]

01 - Whitey Fortress [05:16]
02 - Primanti Bros. [01:57]
03 - Bombay Fraud [03:39]
04 - Give Up... and Move On [02:07]
05 - Little Red Dolls [01:49]
06 - Ginger (Bein' Free) [02:37]
07 - Turn It: Up (Loud) [03:29]
08 - Gettin' It On [02:27]
09 - Hard Workin' Man [03:26]
10 - Quest for Two [02:44]
11 - Fourth Eye [01:56]
12 - Wicked Servent [08:30]
13 - O.D.B. [08:43]

01 - I Love Rock [03:50]
02 - Major Havoc [04:24]
03 - Pure Light Invasion [02:37]
04 - Legion of Scabs [03:03]
05 - Doin Business In Japan [03:40]
06 - Snow Machine [04:31]
07 - Slip Inside This House [04:08]
08 - Power Animals [02:30]
09 - Fat Bobby's Black Thumb [03:50]

01 - XXY [02:33]
02 - Steel Rod [02:05]
03 - Tennessee [06:35]
04 - Hell Train [02:19]
05 - Sinister Purpose [18:00]
06 - Peace of Mind [00:04]

01 - New Head [01:15]
02 - All Arounder [03:29]
03 - Geometry [01:41]
04 - Rose And Licorice [03:04]
05 - Almagest [02:46]
06 - Still Rememberin Hidin In The Stones [06:29]
07 - Dead Worlds [03:43]
08 - People Of The North [06:39]
09 - The Wooded World [03:12]
10 - Ballad of Impervium [01:30]
11 - To Seed and Flower [01:21]
12 - Double Lock Your Mind [12:13]

01 - Liars - Rose And Licorice [03:47]
02 - Oneida - Privilege [01:46]
03 - Liars - All In All A Careful Party [03:15]
04 - Oneida - Fantastic Morgue [02:45]
05 - Oneida - Every Day Is A Child With Teeth [06:46]
06 - Liars - Dorothy Taps The Toe Of The Tinman [07:31]

CD1:
01 - Sheets Of Easter [14:12]
02 - Antibiotics [16:36]
CD2:
01 - Each One Teach One [03:24]
02 - People Of The North [04:29]
03 - Number Nine [02:53]
04 - Sneak Into The Woods [01:58]
05 - Rugaru [06:33]
06 - Black Chamber [03:06]
07 - No Label [04:57]

01 - Treasure Plane [03:28]
02 - Ceasar's Column [04:39]
03 - Capt. Bo Dignifies the Allegations with a Response [02:03]
04 - Wild Horses [04:03]
05 - $50 Tea [04:47]
06 - Last Act, Every Time [02:31]
07 - The Winter Shaker [04:36]
08 - Changes in the City [14:14]

01 - The Eiger [02:33]
02 - Lavender [03:57]
03 - Spirits [04:19]
04 - Run Through My Hair [03:00]
05 - High Life [02:19]
06 - Did I Die [03:30]
07 - You're Drifting [03:25]
08 - Charlemagne [02:26]
09 - Know [01:45]
10 - Heavenly Choir [04:17]
11 - Leaves [02:56]
12 - The Beginning is Nigh [07:29]
13 - August Morning Haze [03:24]

01 - Distress [03:21]
02 - Happy New Year [02:32]
03 - The Adversary [05:15]
04 - Up With People [07:49]
05 - Pointing Fingers [02:06]
06 - History's Great Navigators [04:27]
07 - Busy Little Bee [02:59]
08 - Reckoning [02:51]
09 - You Can Never Tell [02:28]
10 - The Misfit [03:16]
11 - Thank Your Parents [07:00]

01 - Preteen Weaponry. Part 1 [14:03]
02 - Preteen Weaponry. Part 2 [11:26]
03 - Preteen Weaponry. Part 3 [13:53]

CD1:
01 - Brownout in Lagos [05:38]
02 - What's Up, Jackal? [03:08]
03 - 10:30 at the Oasis [12:35]
04 - Story of O [07:51]
05 - The Human Factor [10:28]
CD2:
01 - The River [04:33]
02 - I Will Haunt You [04:08]
03 - The Life You Preferred [04:38]
04 - Ghost in the Room [06:18]
05 - Saturday [06:48]
06 - It Was a Wall [03:22]
07 - Luxury Travel [06:04]
CD3:
01 - O [13:00]
02 - End of Time [03:50]
03 - Folk Wisdom [20:50]

01 - Oneida - G.T.G.W. [09:03]
02 - Oneida feat. PCRZ - T.S.M.T.J. [05:45]
03 - Pterodactyl - I See You [04:29]
04 - Pterodactyl - The Neverenders [05:04]
05 - Pterodactyl - Behind The Green Card Door [01:03]
06 - Pterodactyl - One With Everyone (De Surf) [04:12]

01 - Pre-Human [09:19]
02 - Horizon [11:24]
03 - Gray Area [09:51]
04 - Absolute II [09:41]

Oneida is a four-piece rock band from Brooklyn, New York. Their influences include psychedelic rock, krautrock, and hard rock, but the overall structure and intent of their music cannot be easily traced to any of these styles, or the myriad other styles they have drawn upon in recordings.
The most striking and consistent aspect of Oneida's music is their use of and fascination with repetition. Their 2002 LP, Each One Teach One, for instance, begins with two especially long tracks, Sheets of Easter and Antiobiotics, the former over fourteen minutes long, the latter more than sixteen. Both of these songs are composed of one repeated riff (with a few short interludes on Antiobiotics).
In addition to the use of repetition that easily outstrips the patience of most casual listeners, Oneida's music can be distinguished by the bandmember's extensive use of and enthusiasm for antique keyboards and analog electric pianos. Repetition in Oneida's music greatly complements the strengths and uniqueness of the fuzzy or cheesy-sounding keyboard elements.

They come not from the 18th century utopian village or the Indian Nation in upstate New York, these kids who call themselves Oneida, but from a squalid basement apartment in Clinton Hill, Brooklyn, where they have learned to rock in a positively terrifying fashion. Nobody seems able to agree on just who they sound like when they rock this way, though the great MC5 are frequently mentioned. There's also a clear parallel to the New York Dolls, given that these kids are also flamboyant characters who play noisy damaged rock in New York. They've got a bit in common with the 13th Floor Elevators, who they've been known to cover. The thing is, you could compare Oneida to just about anyone loud, violent, and a bit perverse -- Devo, The Birthday Party, The Stooges, Girls Against Boys -- and you'd be right on. Just like you could call them garage rock, art-punk, No Wave, or psycho-delic, and you'd have hit the nail on the head.
Basically, Oneida takes every available idiom of hedonistic rock excess and rolls them all into one. So they're eclectic. And loud. Eclectically loud. Papa Crazee's tortured guitars screech and wail, farting out horrifying squalls of feedback, while the rhythm section (Kid Millions and Hanoi Jane) prances like an old queen in a feather boa. Distorted keyboard lines courtesy of Bobby Matador lurch and tumble alongside, sometimes coherently, usually not. Crazee howls vocals with the foamy-mouth fervor of a meth addict who needs to smoke not one, not two, but three cigarettes at once.
Oneida's been in the business of terrifying the trust fund-toting Brooklyn newbies since the late '90s. They've given us four LPs thus far. Their first two were A Place Called El Shaddai's (1997) and Enemy Hogs (1999) on the now-defunct Turnbuckle label. With that second record, since reissued on Jagjaguwar, Oneida truly began to realize the wide-ranging warped vision that has made their subsequent albums such fascinatingly deranged treats. Perhaps this is because the band recorded it with the help of a batch of bathtub acid they made from a vintage recipe found in the local library. For anyone who likes their rock insane, Enemy Hogs is required listening, lurching all over the map from '60s proto-punk to Blue Cheer-inspired heavy rock to woozy psychedelic drone to paranoid Suicide-derived New Wave punk, with this manic jazzy trumpet going nuts on a handful of tracks.
After that came the Steel Rod EP, followed promptly in 2000 by the 12-cylinder explosion of their third LP, the aptly titled Come On Everybody Let's Rock, which showed that Oneida had truly perfected their warped, hallucinatory, and very loud style of sludge-psych.
In 2001, the busy band came back with another dozen power-rock ball-busters, under the title Anthem of the Moon (perhaps a play on The Dead's jam-psych classic Anthem of the Sun?). The ghosts of Roky Erickson and his 13th Floor Elevators continue to haunt Oneida -- often in spectacular fashion (check out "All Arounder") -- and you might sniff out some traces of Captain Beefheart, Love, and Foghat in one corner or another of the album. What's especially interesting about Anthem of the Moon is that it's a concept album of sorts, created in tandem with nocturnal field recordings the band made during trips to the ruins of a Colonial-era village in Western New England. So the creepy ambience that seems to seep up through the breaks in the music is for real -- that's the stones talking, man!
Jesse Ashlock