OSI

I have mentioned candidly in my review of Samla Mammas Manna's MALTID album that masterpiece albums usually are a good surprise and totally blow me away from the first listen to where I'm at currently. Well, the debut of O.S.I. did just that, and is it beautiful.

The project might be most familiar among Dream Theater fans as it reunites original keyboardist Kevin Moore with then-drummer Mike Portnoy. Despite there being some semi-technical moments, O.S.I. refrains from the technical pitfalls that can characterize some of DT's more bombastic moments. The technical side of metal opts for a more functional, odd timed side of things a la Fates Warning. Perfect segue, FW mastermind Jim Matheos is the other main musician here. We have as an end result, prog metal musicianship that lets the audience know its complex without getting too preachy about it. Everything falls into place as needed with nothing overdone in any solo department.

And since Matheos is part of the project, the metal has that wonderful crunch that is very apt for head banging, but it's thrown in an odd time signature (for example, the title track is mostly in 7/4) to avoid any sense of normal. The riffs tend to be like glue in that they get stuck in your head, particularly ''O.S.I'', ''Head'' and ''shutDOWN''. The keyboard work is also glorious, adding techno kinds of atmospheres without overbearing or drowning out anything. The little boost the keyboards give to ''The New Math'' just bolster the track's prowress.

But not all albums can function on a constantly fast-paced speed, so there are a few acoustic moments like ''When You're Ready'' and ''Hello, Helicopter'' (not truly acoustic since the keyboards aren't) to act as breathers so that the listener can relax from the frenzy that comes before. We even get a very Steven Wilson influenced track (he wrote and sang on it) in ''shutDOWN'' that qualifies as the epic of the album that evolves from Floydian sludge metal to a climactic mating of Fates Warning and Porcupine Tree. The project even treats us into a more electronic, spacey denouement in ''Memory Daydream Relapses''.

One criticism of this album that I can understand is that the vocals aren't very strong. Barring Steven Wilson on the epic, Kevin Moore is the singer, and he tends to sing in a dry, laconic tone nearing robotic. I actually have come to terms with Moore's voice as it provides a balance from the surrounding heaviness. The project also provides three well thought out instrumentals (''The New Math'', ''B-52s and Horseshoes'', ''Dirt From a Holy Place'') and in general, keeps the vocal moments to sparing offering the music a lot of leg room.

O.S.I.'s debut is a very well-constructed, muscular machine. If you don't mind the vocals or some of the political snippets, this is a proud example of how excellent prog metal can be.

A PERFECT BLEND OF ELECTRONIC AMBIENCE AND PROG METAL!!!

   If I could start off by saying that OSI ( Office of Strategic Influence) are a very unique band in the world of prog and that of the world of music! I don't know any other bands that sound like OSI and I feel that they can be counted as o e of the 7 wonders of prog because of their unique approach to progressive sounding music. At the moment and on this album review (BLOOD) OSI is an unbelievable super trio that consists of KEVIN MOORE (Vocals, keys and programming) JIM MATHEOS ( Guitars and Electronic sample mixing) and of course the great GAVIN HARRISON from Porcupine Tree on the DRUMS! 

 Furthermore, OSI's BLOOD album is nothing short of a masterpiece. How could it not be? You have the lead guitarist of Fates Warning, ex Keyboardist of Dream Theater and the drummer from arguably one of the best groups in progressive rock, which is Porcupine Tree. Anyway, to get to the heart of the matter the BLOOD album is a masterpiece. It is a creative and insightful blend of electronic music combined with the wicked power of prog metal. This is an album that should not be overlooked. The album itself starts off with a creative bang with the track THE ESCAPE ARTIST which is one of the more heavy metal based tracks on the album and it is a real treat to listen to. No to mention, even though the mixing and electronic sampling sound simple to produce its not. Do not be fooled just because OSI mainly produce a fairly accessible and almost commercial sound, there music is still quite complex and layered at the same time. Anyway, moving forward the track TERMINAL is a more electronic based sound with all of what KEVIN MOORE now represents after his Dream Theater tenure. TERMINAL is a beautiful track and it will leave you relaxed and sedated once you have this song grace your ears. Other notable tracks are RADIOLOGUE and the infamous BLOOD. 

As your fellow prog brother I urge you all to explore this wonderful, unique album that will sure please the ears if fellow proggers can appreciate ambient Electronic combined with the shredding metal guitar of Jim Matheos. Give it a listen. The album is getting a 4/5 because their latest release FIRE MAKE THUNDER is actually a slight step up from this beauty and that album would warrant a 5 with me. Essential prog? I think yes. It would make a terrific addition to any prog collection. Enjoy the simplicity that Moore and Matheos create here. You won't be sorry. 

👊👌👍

OSI are an abbreviation for "Office of Strategic Influence" which was also the band's first release nine years ago. The group is composed of the two famous Progressive Metal musicians Kevin Moore who has been in Dream Theater as well as in Fates Warning and Jim Matheos who still is in Fates Warning and who has recently released a critically acclaimed album with his band colleague John Arch under the Arch / Matheos banner. The third man on board is the drummer Gavin Harrison. True Progressive Rock fans should know him, too as he has been involved in King Crimson and still is a part of Porcupine Tree. In the past, OSI featured even more famous musicians such as Sean Malone, Mike Portnoy and Joey Vera. I think these guys don't need an introduction anymore. That's why one could describe OSI as a all-star band or even a super-group of the genre and the whole thing sounds quite promising.

But then, there is the music. The album is quite slow and has a pretty dark atmosphere. Only very few tracks are heavy and feature very minimalistic riffs that sound somewhat Doom, Groove and Industrial Metal orientated. Some tracks even have some Sludge references or very slight Country moments. Another dominating element is the keyboards that add a very minimalistic electronic touch to the sound. This description sounds quite diversified but don't get fooled by the description. The music is very calm, laid back and minimalistic. The overall atmosphere is quite depressive and grey. It goes as far that this release can almost be described as an Ambient record with its numerous floating moments.

Some of the hypnotizing tracks need a lot of time to grow but most of them simply won't do so. This album lacks of the warmth that one knows from bands such as Fates Warning and especially early Dream Theater. It's hard to believe that the main artist on this release is the same guy that created songs like "Only A Matter Of Time", "Surrounded" or "Space-Dye West" as this album simply feels dumb and numb. I would even associate a feeling on the thin line between being very sad and being emotionless to the record. As you can see, some sort of concept is there but only one solid basis idea doesn't make an entire record that lacks of any gripping variation.

Some lyrics and song titles may seem to be influenced by the culture of the North American First Nations but this can't be detected in the songs themselves as there are no folk elements, exotic lyrics or particularly Indian atmospheres to find. The only term I may associate with the First Nations and that I can hear throughout the record is a strange feeling of longing or loneliness that may reflect the view on a better past and a shattered present of the Indian communities that are now culturally, mentally and politically imprisoned in reserves thanks to failed American and Canadian politics in the past.

In the end, if you are looking for an atmospheric and minimalistic record to dig into, you might like this release. If you are looking for diversified changes of style, any solo passages or catchy tracks, you won't be happy with this album. I especially dislike the cold and minimalistic guitar riffs, the repetitive keyboard sounds, the almost inaudible bass guitar lines, the faceless drumming and the redundant vocals coming from three musicians that can clearly do better. As you can see, there isn't much that I don't dislike which explains my negative final rating. I have given this album enough time and three to four spins but it simply refuses to grow on me no matter how and when I do approach this. I would only recommend this album to fans of dark, industrial and simplistic Ambient stuff. Anybody else shouldn't get fooled by the big names of the members and head for their original bands instead.

Originally published on www.metal-archives.com on August 11th of the year 2012.

3.5 stars. This is the first OSI album not to feature guests on it. And of course they have had some significant people helping them out over the previous three albums like Steven Wilson, Mikael Akerfeldt, Tim Bowness, Joey Vera, Mike Portnoy and more. This is the same trio that were on the last album "Blood" with Matheos, Moore and Harrison. And again we do get plenty of programming and electronics. To my ears there seems like there is more ambient and dark sections on this one when compared to the previous three records, but make no mistake this sounds like OSI.

"Cold Call" is kind of cool as we get samples of a radio station broadcast that tells the listeners that the government is about to release an important emergency statement so everything is on hold. A beat can be heard as these words are spoken then it gets heavier after 1 1/2 minutes then here we go ! They are crushing it then the vocals come in at 2 1/2 minutes as the heavy riffs continue to come and go. It turns out there is no announcement forth coming much to the amusement of the announcer. "Guards" rocks pretty good everytime the guitar kicks in, especially during the instrumental section after 3 1/2 minutes. "Indian Curse" is fairly laid back with vocals. Not too impressed with the first three tracks but "Enemy prayer" is a top three for me. Everything sounds better on this track. Electronics and keys to open. It kicks in before a minute with riffs. Electronics and keys are back before 3 minutes then the drums join in. Ripping guitar before 4 minutes.

"Wind Won't Howl" is another top three. We get a beat with electronics as reserved vocals join in. It's heavier after 3 1/2 minutes. Great sounding track. "Big Chief II" is catchy with vocals and it does get heavy at times. "For Nothing" is laid back with vocals. I like it ! "Invisible men" is the almost 10 minute closer and one of the best OSI songs that i've heard. Sounds build as the vocals come in. Great sound after 3 1/2 minutes. Then we get a dark calm. The guitar starts to grind away then it kicks in after 4 1/2 minutes. It settles with vocals then the guitar kicks in again as contrasts continue. It calms right down late to end it.

This might grow on me but i'm a little disappointed with it.

This album is a regular guest in the stereo of my car since well over a month. In my opinion it doesn't represent a masterwork but easily the best outcome of the interesting project carried on by OSI and the apex of the band's musical journey so far. All tracks are interesting without any particular drop of intensity or tension. One can only hope that the band could represent a model for other groups able to merge with equally intelligent and successful way the melancholy and reflective prog atmospheres with the metal genre. Here is my personal rating of the single tracks: 1) Cold Call **** 2) Guards *** 3) Indian Curse ***** 4) Enemy Prayer **** 5) Wind won't Howl ***** 6) Big Chief II **** 7) For Nothing **** 8) Invisible Men *****

For those related to the metal side of progressive rock, I assume is the name of OSI is familiar. For those who are not, let me tell you then that this project was started back in 2002 by Kevin Moore (Dream Theater) and Jim Matheos (Fates Warning), a couple of well-known musicians who gathered ideas in order to create new music. During the years, they have worked with guest musicians and singers such as Tim Bowness or Mikael Akerfeldt. And now, in this 2012 they have just released their fourth studio album, called 'Fire Make Thunder'. Here, they offer eight compositions that make a total time of 43 minutes.

It kicks off with 'Cold Call' in which we can listen to a news journalist talking as background while the electronic elements are being added little by little. The atmosphere is tense and the intensity is increasing while the seconds pass. At minute two the music explodes and shows its inherent metal tendency, mainly due to the guitar. Later Kevin Moore's vocals enter with its soft tune; I assume he is not actually a singer, however, I like his voice and he does it really well here. It is not the typical metal voice (thanks God). The programming puts different nuances that are wonderfully complemented by the physical instruments.

'Guards' has a more experimental sound, here, at first, the heavy and metal side are not that evident because it is shadowed by the programming and electronic atmospheres. I like a lot the bass sound in this track, and how it is progressing, making different changes and of course, adding a cool guitar riff in the final minutes. A contrast comes now with 'Indian Curse', which is a much softer track with acoustic guitar, a soft voice and a warm atmosphere as background. The song flows and continues like this for the next 4 minutes.

With 'Enemy Prayer' the metal guitar returns, putting that mandatory power and energy in the music, later where drums join the rhythm is accelerated and even more powerful. Then it makes some changes, slowing down the temperature a little bit, and implementing some nice figures until a cool guitar solo appears and the sound returns to its original and heavier form. This is a purely (and cool) instrumental track. 'Wind Won't Howl' has that great combination between programming and soft guitars. A minute later the vocals enter and a new keyboard atmosphere can be perceived. The music is great, charming and interesting, making a blend of prog rock with some industrial, metal and even post-rock tendencies.

'Big Chief II' and 'For Nothing' are the shortest tracks of the album, passing only the three- minute mark. The first one has a powerful tune while the vocals contrast with its soft sound; here I like a lot the drums, showing power and cadence at the same time. The second one is much calmer with repetitive guitar sound and a distant atmosphere, it reminds me a bit of Nine Inch Nails in its least experimental side. Though these two songs are not bad at all, I have to say this is the weakest part of the album, by far.

And the longest composition comes in the end. 'Invisible Men' reaches almost ten minutes of a wonderful summary of what OSI's music is about. It is flowing and progressing little by little; the programming is soft, repetitive but addictive, and greatly complemented by vocals. After three minutes there is a change, the sound volume increases and makes a brief explosion that all of a sudden vanishes; then, paused guitars enter and seconds later the metal tune joins. The music flows and takes us to different passages, one of my favorites is after eight minutes where a disarming guitar sounds, while a soft atmosphere is as background, and Moore's voice delicately appears. After that, the song finishes, as well as the album.

A very good effort by OSI, recommendable not only for metal lovers, but for those who like this kind of experimentation and mixture of elements. Without a doubt, the record deserves at least 4 stars.

Enjoy it!

It is sometimes difficult to be critical of bands that have a strong forward momentum; as well as such luminaries as Moore, Matheos and Harrison behind the wheel. I gave this disc a couple of listens before attempting to write this review.

The telltale OSI sound is clear and abundant in this disc, and, those who enjoy their sound will find comfort in this album. Listening to this disc is like wearing a pair of older comfortable shoes. They fit well and you can walk miles in them, but there isn't any real excitement in putting them on. I do appreciate the continuity of the music album to album, but I don't find a freshness to the music, or that emotional charge when a really good peice of hard prog hits you.

Having said that, there are a few notables on this disc. 'Indian Curse' is a well crafted mellow piece of moody music; almost ethereal, and well worth the listen. 'Invisible Men' is my favourite piece on this disc; moving from the recognizable OSI mellow starting licks to heavier more forceful piece.

Specifically, I would like to say, Gavin Harrison is an undeniable drumming force today, and should play runner up to Neil Peart. I look forward with great expectation to his participation in whatever band makes use of his talents going forward.

If you give 'Blood' a 4, and play it back to back with "Fire Makes Thunder' then this album gets a 3.

3.4 / 5

'Fire Make Thunder' - OSI (8/10)

Although OSI began as a supergroup pairing between Fates Warning guitarist Jim Matheos and former Dream Theater keyboardist Kevin Moore, a string of critically successful records has gone to establish the band with a sound that is all its own. Although it's undeniable that a great deal of OSI's initial recognition and exposure was due to Matheos and Moore's history with two of prog metal's titans, they have since developed a fairly signature sound for this project. 'Fire Make Thunder' is the fourth journey from this collaboration, and while a similar sound to those of past OSI material is still strongly evident here, the album feels no less relevant to progressive rock in 2012. Even for listeners who are not already a fan of either musician, 'Fire Make Thunder' should make for an impressive listen.

Although OSI is typically labelled as 'progressive metal', the sound is far-flung from Fates Warning's calculating fury, or the early Dream Theater's technical showmanship. The music on 'Fire Make Thunder' has some of the qualities of metal, but there is a decidedly ambient approach to the way these songs are produced and arranged. As has been the case for OSI since their debut however, the most distinctive aspect of what the band does is the unique combination of Matheos' proggy songwriting, and Moore's more laid-back sensibility. Musically, OSI here feels like a continuation of what Moore once did with his solo project Chroma Key. The sound is warm and vibrant, but the mood, more often than not, is one of melancholy and reflection. Matheos' dark instrumental ideas compliment Moore's dynamic very nicely. To top things off, virtuoso drummer Gavin Harrison (of Porcupine Tree) offers his talents as well, making for the best drumwork yet heard in an OSI record.

'Fire Make Thunder' is not much different stylistically from the ambient metal direction of what has come before for OSI, but there is a greater emphasis on the guitars than before, solving an issue I had when first listening to the band (with the album 'Free') where it felt like Matheos was not being represented as much as he should be. That being said, Kevin Moore's contributions still feel the most distinctive and indicative of OSI's overall style. Although Matheos does the songwriting, Moore's melancholic quirk weaves its way through everything he does, particularly the lyrics. Poetic and mysterious are two terms that might best describe the lyrical impact on 'Fire Make Thunder'. Kevin Moore's voice is a love-it-or- hate-it thing for metalheads, and while his delivery sometimes feels the constraints of his limited range, the warmth of his voice compliments his style very well.

OSI certainly isn't a typical progressive metal band, but fans of Fates Warning and Dream Theater likely won't be disappointed when they hear this. Even outside of that fanbase, OSI has created something that feels fresh, modern and relevant. Although the sound runs the risk of sounding a little too similar to what the band has done in the past, 'Fire Make Thunder' is an impressive, lasting, and deceptively laid-back record that should make some waves in the prog community.

Listening to OSI's debut album, I could understand why the band were so keen to snag Steven Wilson of Porcupine Tree as their vocalist. (He declined, offering only a guest appearance on the epic shutDOWN.) Essentially, this is Dream Theater and Chroma Key founder Kevin Moore and Fates Warning guitarist John Matheos' take on the psychedelic prog-metal soundscapes of In Absentia, only with a bit more of a groove and more overt political satire in the audio samples. It's a good effort, but it feels a bit more calculated and by-the-numbers than the Porcupine Tree works it's inspired by and doesn't quite scratch the itch for me.

'Free' - OSI (6/10)

Prog rock supergroups are generally consistent in two ways. First, they are bound to create a level of excitement for the fans of whatever artists involved, and second, they almost always disappoint. While jazz 'super' groups work because that style is focused on the musicianship and skill of the members, it's rare that a group of established musicians will put a great deal of effort or ambition into a project that isn't part of their 'flagship' band. Regardless, OSI has proven itself to be more than a one-off venture. Leading this group is keyboardist Kevin Moore, who most will know for his tenure in the 'classic' lineup of Dream Theater, although he has kept himself busy since leaving, be it through his solo work with Chroma Key, or his keyboard contributions to Fates Warning. Joining him from Fates Warning is guitarist Jim Matheos and bassist Joey Vera. Add now-former Dream Theater drummer Mike Portnoy into the mix and you have a group that's bound to get progressive metallers around the world excited. But does OSI pay off the fans' anticipation?

'Free' is the second album coming from the OSI project, and readily evident in each song here is the declaration that this is a separate entity from any of the band member's other work or 'best known' bands. The closest thing this might come to is Kevin Moore's Chroma Key, although OSI brings in a metal element. At its core, this is atmospheric hard rock, complete with chunky riffs, catchy vocal hooks, and plenty of electronic ambiance to make things more interesting. Although it may have been different on OSI's first album, 'Free' is a very keyboard-driven effort, and considering that Kevin Moore is also doing the vocal work, it's clear who the star of the show is from track one onwards. From a perspective of songwriting, these songs are fairly easy to digest, but certainly enjoyable. Kevin Moore's voice leans towards the warm-yet-not-technically-skilled spectrum of singers, and this works with the fairly straightforward style that OSI is going for here.

The production gives OSI a sound that's comparable to Porcupine Tree, and though there is little to startle a seasoned prog listener here, the rich and professional recording gives this collection of songs a perfect frame. Moore's approach here is personal and sincere, although the one-sided nature of the album tends to hurt the album's lasting effect. Although OSI may take the listener through harder rocking tunes and softer ballads alike, the emotional resonance feels the same throughout this album, and as such, it makes an already accessible album all the less of a challenge. To answer the question I posed; yes, OSI does deliver something new for fans of Dream Theater and Fates Warning, but the enjoyment sadly shrinks once a listener gains familiarity with the work. Kevin Moore delivers a fine performance on 'Free', but this brevity could have been offset by a more band-based experience. Although there is a full cast of musicians here, the limelight is shed on ambient electronic-based rock tunes, and the rest of the artists fail to get the degree of exposure here that their fans might have been expected.