It might be a bit of a cliché, but Oneida's music could totally work for the re-scoring of a film. Could be an Alex Proyas one or a trippy Terry Gilliam film, but it would need to be something oozing with atmosphere. Because that's what Absolute II, the new record by Oneida, sounds like: a trippy soundtrack for a film brimming with style.

Think back to those strange instrumental cues in old sci-fi films (Solyaris, THX-1138) and you might get an inkling of what Oneida is ranting about in their latest release (the final installment in their Thank Your Parents triptych). Whilst they never go for the total mental neck-breaking speed used in their alternate project, People of the North, the kilometric length of the songs allows them to construct these chunks made up of layered drones, where the initial foundation receives a few bits here and there: a synth sounding like a 70s Hammond organ, a trippy guitar squiggling (with enough vibrato to shake your brain cells) and a sudden realisation that a song that is 10 minutes feels like 3 minutes (although that might be just me).

You get four songs that sum up 40 minutes of a band that like to experiment, but never in a self-indulgent way. A song like 'Pre-human' feels like a classical music composition: you've got your canon, with the aforementioned drone giving the musical leit motif of the piece; you've got a sparse fugue, oozing slowly, almost bleeding through, where a synth plays “Simon Says” with everyone else. It's almost impossible to describe, but the tapestry you get from Oneida's music is akin to a kaleidoscope.

Whereas 'Pre-human' has an introspective, depressive mood, 'Horizon' is equally slow, but like a smouldering underground fire, it's aggressive, waiting to burst back in flames. The layers aren't welcoming any more, the sounds start to unnerve (there is a radar-like noise in the back that mesmerises) and the song is slightly exhausting, but cool nonetheless.

Since you're already emotionally depleted by now, Oneida decide to complete the job with a coup-de-grais. 'Gray area' seems slow but the occasional guitar attack (you'll notice them) is a wake up call. Ouch.

So far you've had 3 emotions in 3 long songs. Dreams, nightmares and fear. The last one, 'Absolute II', goes for an emotion too. If we stay on that mindset of 70s sci fi soundtracks, this is the one atmospheric song that goes with the colourful visuals and the very out-there, off-kilter ending that might leave a few spectators confused. It's a strange atmosphere: scary but with an air of acceptance and fulfilment.

Oneida keep making indescribable records that are a joy to listen to if you have the patience. Check it out, maybe with a film playing on the back, all muted. I tried it with Alex Proyas' Dark City and although it never synced, it complemented the visuals.

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