Published Jan 01, 2006There's nothing like a wedding to bring out everyone's best spirits. "You go to a wedding and everybody's dressed up and everything's nice and civilised," says Fat Bobby, keyboardist for Oneida, "and then, by the end of the night, there are suit pants everywhere, people are naked and waking up in the bushes the next morning trying to figure out where they are and what they've done."
The progression of a wedding from intricate ceremony to uninhibited celebration is much like that of Oneida's songs, which often start out with harmless indie rock intentions before exploding into unhinged psychedelic blow-outs, or as Bobby describes, "this elegant formalist thing that dissolves into weird insanity by the end of it." Such is the subtle, moody progression of The Wedding, Oneida's meticulously constructed masterpiece, and seventh album overall.
"We started working on The Wedding in late 2000 or early 2001. We had the idea to try to make something really beautiful and melancholy and kind of elegant and we knew it was gonna take a lot of work, so we've been working on it while we work on other stuff."
And since Oneida (a trio that also includes drummer Kid Millions and guitarist Hanoi Jane) have their own studio and rehearsal space built into the loading dock of a warehouse on the waterfront of Brooklyn's East River, it's easy for them to take on projects at will.
"We usually have two or three different projects going at once, like our next album, a double record called Thank Your Parents," says Bobby. "Our last three albums went from pretty intense with Each One Teach One to Secret Wars, which was a little more collected, a little calmer, to The Wedding, which definitely has this mellow, sad, dark feel to it, so it's time for us to put together something that represents our really angry, confused side. Right now it's looking like Thank Your Parents is going to be pretty extreme."