Oneida

A song is a song until it isn't, until it's pushed to its limits and beyond to become harder, faster and more dissonant. The music on Oneida’s 17th full-length album, Expensive Air, all started as tightly structured, melodic rock songs-very much in line with the non-stop bangers of Success from 2022-but along the way, they changed.

Bobby Matador sketched the structures of these songs from his home base in Boston, then sent the demos to Oneida's New York contingent: Kid Millions, Hanoi Jane, Shahin Motia and Barry London. "We were working out the songs in New York without Bobby. We would start out riding the riffs, and then Shahin and Jane would add wild, out-of-tune licks," said Kid Millions. "It seemed so perfect."

Oneida has long straddled gray-area boundaries between the NYC punk/psych/rock world and the art/experimental world, playing at gritty rock clubs and elevated cultural institutions, including the Guggenheim, MoMA PS1, ICA London, MassMOCA and the Knoxville Museum of Art. The band has been known for extended live improvisational performances, collaborating onstage with Mike Watt, members of Flaming Lips, Portishead, Boredoms, Yo La Tengo, Dead C, Godspeed You! Black Emperor, and many others. Oneida's members juggle a wide variety of other music projects. Drummer Kid Millions has played with Spiritualized, Royal Trux and Boredoms and releases solo compositions under his own name and as Man Forever. Shahin Motia founded noise-punk's Ex Models and currently plays in Knyfe Hits. Kid and Fat Bobby perform and release music as People of the North, and Bobby's outside projects New Pope and Nurse & Soldier each released new albums in 2023.

Oneida's previous album, Success, came after a four-year hiatus, unleashing the band's pent up creative energy in a set of catchy, accessible, nearly poppy songs. Song structure remained important in the run up towards Expensive Air, but so was the instinctual, improvisatory interplay that has always been a part of Oneida's process. The band had been playing live together for two years, sharpening its attack and pushing its songs to go harder, faster and wilder. Oneida recorded Expensive Air in three sessions scattered across 2023, convening at Colin Marston's Menegroth The Thousand Caves studio in Woodhaven, Queens, whenever they had a few songs ready. Marston and the band mixed the album in February 2024 at Menegroth.

The new album expands on what Oneida achieved with Success, but also pushes past it, laying down irresistible song structures then blowing them to psychedelic bits. "I found myself thinking about this record as a darker, looser, louder, counterpart to Success," Bobby explains. "Both records charge forward from the jump and mix the elliptical with the blunt, and longing with self-mockery. But Success is like laughing in a car gunning carelessly through an ice storm, and Expensive Air is how you laugh at yourself as the car spins into the ditch, or a tree. Same trip, but a little closer to the bone."
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Few bands are as primed to capture their ecstatic live energy in masterful sonic detail like Terry Gross. Composed of three renowned engineer/producers whose studio doubles as their jam spot and communal gathering place, the trio are able to document their longform psychedelic escapades with granular precision. The potency of the fellowship formed by drummer Phil Becker, bassist Donny Newenhouse, and guitarist Phil Manley (Trans Am) lies in their ability to utilize their prowess as both players and recording engineers to translate feeling with immaculate clarity. On their second full-length Huge Improvement, Terry Gross embody a complex web of emotion with songs as ferocious and precise as they are agile and care-free, delighting in the catharsis of excising tension alongside one’s most trusted peers.

Huge Improvement’s tongue-in-cheek title is rightfully earned. Like their debut Soft Opening, the pieces on Huge Improvement began as improvised studio jam sessions without expectations. The trio’s ability to plug in, play and have each experiment thoroughly documented opens up unparalleled avenues for further exploration and honing. The bulk of the songs were constructed from their now tried-and-trusted process of excerpting the best sections of their lengthy jams and sculpting them into more refined shapes. “Sheepskin City”, a gallivanting ode to impermanence, runs at full-tilt, pushing repetitive riffing to sonic extremes and invoking prog-rock drum and guitar heroics. Terry Gross’s vocal melodies shine with tight harmonies that borrow from Manley and Newenhouse’s time playing in bluegrass bands. “Sales Pitch” implodes from a motorik groove into a sludgy dirge rich with textural nuance hidden in the crunch. The languid “Full Disclosure” is a testament to Terry Gross’s craftsmanship and undeniable chemistry as both a live and studio band, chronicling one of the trio’s jams in its entirety without edits or overdubs. Closing track “Effective Control” draws out an astoundingly pop-inflected edge to their rollicking thunder as it nears closer to the album’s exhilarating conclusion.

A throughline of absurdity runs through the themes of Huge Improvement, from the band’s larger-than-life compositions to the facetious titles to the songs’ approach to space rock tropes. The pieces explore bleak futureworld concepts like “annoying sales robots, nanotechnology and massive generational spaceships collapsing,” with irreverence, but refrain from outright pessimism or detachment. The now-defunct titular San Francisco business Sheepskin City which features on the album’s cover acts as a totem for the band’s embrace of humor and genuine concern for preservation in tandem. “Sheepskin City was always a perplexing oddball place on a busy corner in San Francisco’s Mission district,” notes Becker. “They hung the same weathered ragged sheepskins out front daily. Was it a front for something else? Something about it just made you smile when you drove by it. If Sheepskin City is still there, things are alright. And then one day after decades of being there, it’s gone! Things are still alright, but they’re different.” Newenhouse adds: “For us it became sort of an analog for the future and how technological advancements will most likely result in some sort of ultimate letdown.” Manley continues: “These are places in the neighborhood where we have our recording studio, El Studio, which is where we write, rehearse and record. It’s our home base. I feel like we were trying to capture a moment in time. Everything is temporary.”

The four mammoth slabs that make up Huge Improvement are driving, unrelenting excursions into the unknown. Whether burning white-hot or smoldering in plumes of smoke, the pieces stretch as much inwardly as they do cosmically, embracing every surprising turn. Terry Gross’s Huge Improvement morphs the trio’s search for communal connection and reprieve into a transcendent respite, a burst of focused energy to be enveloped in while facing the senselessness around us with a smile.
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Carlton Melton is: andy duvall – drums/gtr; clint golden – bass; rich millman – gtr/synth; and anthony taibi – synth/gtr.

Northern California psychedelic sorcerers Carlton Melton are brain surfers, mind trippers, ... “psychlists,” if you prefer. The band will take your head for a ride, occasionally rushing at superluminal speeds through a wormhole or gliding softly on a gentle breeze in a leafy glade. Sometimes your brain needs to rage, and sometimes it needs to repose.

For a decade and a half, the band has yo-yo’ed, almost schizophrenically, between these two modes: walloping space jams with furious guitar solos in one hemisphere of the brain and ethereal, feather-light splashdowns in the other. Not to mention a track here and there that builds from the latter into the former.

But with two new releases in 2023, the band has evolved. Whether psych rock or ambient trance, their sound remains driving, organic, and flowing. With the addition of Anthony Taibi (White Manna, DDT), however, the group’s metal freak-outs are Hawkwindier and their droning kraut trances are Spacemen 3-er. In January, the quartet released the playfully spacey Resemble Ensemble, recorded in Taibi’s home studio 3D Light. October now sees the band Turn To Earth, a work with scents of Autumn, a season of death and transition. The cover art evokes a vine- covered, electric crucifix. The sound is, well, earthy but also gritty and striving towards change. The album was recorded in Fall 2022 and now harvested in Fall 2023.

Phil Becker (Terry Gross, Pins Of Light) contributed drums and percussion to a few tracks on Turn To Earth, recording the album at El Studio in San Francisco. With Becker at the helm, the synths have become more prominent (“Cosmicity,” “Roboflow,” “Migration”) and the tone heavier on the doom (“Cloudstorming,” “Unlock The Land,” title track): several moments could even serve as background music for epic dark fantasy films like Conan the Barbarian, Fire and Ice, or Heavy Metal.

As exquisite as Turn To Earth is, Melton are best appreciated as a live act: their recordings as well as their gigs are largely improvised – not so much composed as birthed. And yet their most recent tour ended abruptly and perilously. The group had to cancel its final three shows once members were admitted to Arnhem hospital in the Netherlands. Five years later, reinforcements have strengthened the band and restocked its arsenal of great tracks.

After the rockus interruptus of that 2018 tour and the tantric tease of the intervening Covid lockdown, Melton have some unfinished business. An October 2023 tour is poised to set the freshly minted quartet back onto the stages of Europe and within the cerebral folds of its fans.

Turn To Earth, sure ... but keep your head in outer space.

The Avalon Lounge

The Avalon Lounge

The Avalon Lounge