OSI

From Dream Theater to this?

To be honest I have a bit of a bone to pick wth Mr. Moore. In Dream Theater, his lustrous talent and sound was the perfect sound for Dream Theater, his lyrics were some of the best I have ever heard and also...he was a funny guy. But to this...

Being this is the opposite of Dream Theater (well in a way they are quite similar, but for this review I have decided to live in a world where there are no positives and negatives), it was hard for me to listen to this, and not compare it to Dream Theater, saying that Kevin is an ex member.

This is a great album, the songs are cathcy, the riffs kick ass, and you have Jim Mathoes on guitar (Fates Warning rule). This album does have quite an industrial feel to it, which I'm not the biggest fan off..but meh.

Mike Portnoy, who was kind enough to play on their first albums, has ran back to Dream Theater and wasn't able to appear, but what do you do when one of the best drummers in the world leaves....get one of the other best drummers in the world. Gavin Harrison (Porcupine Tree, King Crimson...he played with King Crimson, you have to be good to play in King Crimson) has filled in the slot (hehehehehe, I'm so childish)

If you haven't heard OSI before, they're basically No Man, but more upbeat and not suicidal. (Tim Bowness did provide vocals on one of the bonus tracks...but it's way too depressing.

1. The Escape Artist - Reminds me of Rammstein mixed with Leonard Cohen style vocals (Kevin Moore does have quite a boring voice). Kick ass way to start off an album. Cathcy and great electronics work.

2. Terminal - Very nice atmospheric trance intro that reminds me of No Quarter. A more laid back song with a Porcupine Tree vibe to it, and it's very catchy There is a longer version on the bonus disc, which surprisingly is better than the album version.

3. False Start - Very kick ass song. Cool break down section. Quite eccentric as well. If this song had a better vocalist, it would be a force to be reckoned with.

4. We Come Undone - Nice Massive Attack vibe to it. Quite interesting.

5. Radiologue - One of the best songs on the album. Electronics are used perfectly, very catchy and the acoustic guitar parts go well with the synth beats. Kevin's vocals are quite good too.

6. Be The Hero - Cool eerie intro. A bit tedious to be honest.

7. Microbust Alert - Eccentric.

8. Stockholm - Mikael Akerfeldt's lustrous tones do make this music seem better. This song is very reminiscent to something off of Beck's Sea Change.

9. Blood - There is a bit of an Enter Shikari vibe to this song. It's laidback and calm. Good way to end the album.

CONCLUSION: If this is your cup of tea, buy it. I'm not the biggest fan of Kevin's current direction, but it was very enjoyable.

Office of Strategic Influence is the name of a supergroup started by former DT keyboardist Kevin Moore and Fates warning's eternal leader Jim Matheos. With the addition of drummer Mike Portnoy (one of the most intense workaholics around in the current prog rock scene), the nucleus of OSI was installed and ready to work on the material for a debut album. Guest Sean Malone was a special privilege for this occasion. 2003 was the year of this debut, and I still remember how grateful I felt for these guys from the very first listen I gave to this album way back then. I still feel that way, so the reader should expect a positive review from my part. I'm aware that OSI has three albums already in their résumé, but I choose to look back at this particular album, which remains my personal OSI favorite. The musical offering of "Office Of Strategic Influence" is somehow connected to the refurbished type of prog-metal that Matheos had pursued in FW since the "Pleasant Shade" opus, but it more closely related to the industrial-infected semi-prog metal sound that Moore had created for his own Chroma Key project ? only this time, Matheos' guitar inputs (mostly riffs and harmonic developments) happen to fill the highlighted role in the band's sonic framework. The instrumental 'The New Math (What He Said)' opens up the album with splendorous vigor in a display of mathematical energy. The marriage of Moore's massively industrial keyboards and Portnoy's ever-dynamic drumming works solidly on the 11/8 tempo. Next, the segued namesake track (after both band and album) continues to unravel the same musical truth, even taking it to a more robust stage in a sort of Porcupine Tree- meets-Nine Inch Nails. This 7 minute time span of structured stamina works well at catching the listener's attention. Anyway, 'When You're Ready' brings in a new atmosphere: constrained and relaxed, heavily techno-driven, it still has room for some mysterious nuances along the way, with partially sinister keyboard ornaments that, oddly enough, merge well with the duet of acoustic guitar and stick. Picture the techno side of PT merged with late 90s Depeche Mode and you will get a big part of this track's picture. 'Horseshoes And B-52s' has nothing to do with the B-52's standard (luckily), but with the aforesaid NIN factor, perhaps even with Tool's syncopation-driven schemes. Its subtle management of the demanding time signatures shows how well this ensemble can handle the idea of fluidity in a progressive scheme where synths play such a relevant part. 'Head' follows in this NIN-influenced path. Compared to the preceding track, this one is denser and heavier, despite the fact that the tempo is slower ? it is powerful in its own terms. 'Hello Helicopter!' is related to the meditative side of post-"Signify" PT. 'ShutDOWN' is supposed to be the album's highlight due to its noticeable longer duration ? it also features special guest Steven Wilson on vocals. It is a magnificent piece, indeed: its languid intro succeeds at deceitfully introducing the listener to a musical development that bears genuine intensity and spooky moods (fuelled by cynical lyrics) in a cleverly constrained architecture. Halfway through, the intensity becomes more explicit (that is, the tempo turns a bit faster and the guitar input becomes more muscular at times), but still the calculated constraint operates solidly under this new direction. This track fulfills its promise to state a highlight for the album. 'Dirt From A Holy Place' and 'Memory Daydreams Lapses' bring 11 more minutes of what by now has become the OSI standard, that is, industrial prog-metal with heavy use of electronic and psychedelic textures: the former delivers a sense of melancholy wrapped in spacey nuances and augmented by slightly menacing undertones, the latter is focused on a recurrent grayish mood. The closer is not too long: 'Standby (Looks Like Rain)' is a ballad where the acoustic guitar is prominent. As a whole, the "OSI" album incarnates an inventive statement about how to generate fruitful innovations within and around the prog- metal standard. It is, in short, an excellent addition to any good prog rock collection.

Blood is the third instalment of the cooperation between Jim Matheos of Fates Warning and Kevin Moore from Dream Theatre and Chroma Key. With Gavin Harrison on drums and remarkable vocal contributions from Mike Akerfeldt and Tim Bowness, it is a super group of sorts.

The album has a good balance between Matheos' crunchy guitar riffs and Moore's qualities as song smith, keyboard genius and low key vocalist. Matheos provides simple but irresistible riffs on The Escape Artist, Moore's vocals are gorgeous. Many people may find his melodies too simple and his range too limited, but I think that such a judgement has more to do with approaching him with the wrong preconceptions, rather then with his assumed flaws. Moore is not the big operatic voice that is expected in this style of music. He is a David Gilmour that ended up in a progressive metal band. Actually, it's one of the reason why OSI is so compelling to me and why I find them an original force in a field of music swamped with clichés.

Of course Moore has his limitations as a vocalist, but he is well aware of them. It's one of his charms really. He makes the most out of what he has and complements it with guest vocalist that provide a fresh breath of air without disrupting or even changing the OSI sound a lot. Akerfeldt shines on Stockholm, one of the highlights of the album. He proves himself an extraordinary vocalist again and comes up with a vocal melody that doesn't sound like anything he had done before. The song has a notable touch of Zeppelin's No Quarter.

Another remarkable contribution comes from Tim Bowness. No-man's front man is the last voice you would expect on a progressive metal song but he's fabulous on the most metallic and finest song on the album (at least if you have the special edition). Bowness doesn't stray from his usual vocal approach at all, but it's a match made in heaven. First-class and very unusual, surprising. One of the most original moments in metal in many years.

Another remarkable aspect of OSI is of course Moore's unique approach to keyboards. Together with Richard Barbieri he's the most inspiring and tasteful keyboard/sample player of the last 30 years. In fact, I'd only place Richard Wright just one level higher in the list of most meaningful keyboard players in rock music.

The album has not one weak spot and, while it isn't as excellent as the debut, fans of that album will doubtlessly find this a return to form. 4 firm stars.

More of the same remains a good thing for "Blood", but it's a close call.

This release features a slickly produced, modern metal sound with hefty doses of electronic class. Kevin Moore's signature is all over this one, with his distinctively enjoyable ambient- meets-metal keyboards easily being the most enjoyable element. His signing is always understated, but it fits the album's mood perfectly. Maethos guitars are, there.. and that's all I can really say about them. He uses few embellishments to keep it interesting, chugging away metal redundancies. The result is not so much a performance, but rather a soundtrack which helps sell the final product. Very bland, very sterile. Gavin Harrison's drumming is impeccable, but ultimately unmemorable given "Blood's" tone.

The songs themselves are a mixed bag, less enjoyable as a whole than on the first or second OSI disk. Ironically, things shine their brightest when at their most minimal, the electonic/ambient sections being much more interesting than the straight-ahead metal riffing which punctuates everything in between. I didn't feel any "wow" moments.

The final listen will easily please fans of OSI's two previous (better) releases, and will easily appeal to fans of the "new" Porcupine Tree sound; but, after finishing "Blood" I was left wanting to listen to "OSI", and really wanting another Chroma Key album, either of which show more creativity and style than anything here.

Songwriting: 3 Instrumental Performances: 3 Lyrics/Vocals: 2 Style/Emotion/Replay: 2

Same recipe, but still awesome.

Some girls (sorry guys) are good at recycling everything in the fridge, and STILL make a great meal out of it. Like a thick omelette with the same ingredients, I don't get tired of OSI. They are good, they are great, they're fantastic: the monotone singing, the sharp guitars, the sophisticated sampling feel of an espionnage movie; it's irresistible. Kevin Moore is what's missing today with DT: sophistication. Mateos is ripping the strings with as much energy as before, and Harrisson is wearing Portnoy's shoes with ease. A winning combination with hemoglobine, ematocytes and sweat.

If you loved the other two, this one will remove efficiently the wax from your ears.

Third time out for OSI, and this time around they continue exploring the sound from previous effort Free - blending ambient and electronic elements with details from progressive metal territories.

The compositions are somewhat less embellished in structure on this most recent effort though, fewer shifts in pace and sound and not as many surprising developments by far. Nor as many really compelling moods when it comes to that.

It's still a good effort though, but with a few weak tracks and not as many really thrilling excursions as on Free, Blood is a somewhat weaker effort. A good album overall though, and those who enjoyed their previous effort will find much to enjoy on this one as well.

Well, I first picked up this album because I am a fan of old school (and new school) Dream Theater. I also had one Fates Warning album: No Exit. I wan't familiar Jim Matheos's work other than that one album, and I hadn't really listened to Chroma Key. I was expecting a prog metal supergroup that would attack my brain with a gauntlet of technical, musical .

Thank goodness my expectations were not met.

OSI is a very unique "band", and this, to me, is their finest work.

Kevin Moore's presence is evident on the opening seconds of the album, with electronic sounds and sampled sound snippets. The opener, a flurry of notes and samples called "The New Math (What He Said)" serves as an excellent introduction to not only the band, but also the next song, "OSI", a sedate rocker with a very nice strut and a very cool groove. A nice way to open the album.

The next track, "When You're Ready", is a weak spot on the album to me. It is haunting and pulsating, with a nice acoustic guitar part, but something (or everything) about it seems to make me lose patience with it. Perhaps this is due to Kevin Moore's vocals. His "robotic" vocals are a main point of OSI detractors. His singing fits the music perfectly, but it is not everyone's cup of tea.

Next is an instrumental, "Horseshoes and B-52s". This song is centered around a strong bass riff. It has a very cool groove to it, and I tend to get lost in it. Very hypnotic, very cool.

The next track is entitled "Head". It is one of my favorites on the album, due to Matheos's incredible riff that serves as the basis for the song. A simple, drop D affair, this song has a groove to be reckoned with. Nice, mellow sections are coupled next to deliciously heavy sections without ever changing the feel of the song. This creates a unique dynamic with OSI that I really enjoy. There's always a surprise around the corner, but it stays in the context of a simple song. The chorus has an eastern feel to it. An all-around excellent song, to me.

Then comes "Hello, Helicopter!". This song took a long time to grow on me, but it eventually came to be one of my favorites. A nice, upbeat, acoustic song. This is one song in particular where Moore's vocals really fit. There is a melancholy feel to them that fits the song nearly perfectly. A nice, upbeat song on the album with some very cool drumming from Mr. Mike Portnoy.

And now we come to "shutDOWN". What a treat. Kevin Moore, Jim Matheos, Mike Portnoy....and now Steven Wilson. My personal favorite song on the album. It's a haunting song that really reminds me of Porcupine Tree's slower, longer songs, such as "Russia on Ice" (and no, not just because Mr. Wilson sings on it). The main riff is an evil-sounding, almost Black Sabbath sort of thing. And just when you think you've heard the song, it speeds up and gets more angry. Wilson's vocals fit perfectly, and in fact sound a bit like Moore's on this song. It is one of the darkest songs out there, and it is the highlight of the album to me.

"Dirt From A Holy Place" is a good instrumental with some nice, evil riffing and a haunting keyboard melody. Unlike the rest of the album, for whatever reason, I find this song repetitive. A few excellent riffs make up for this, however. It's a solid song, but no highlight.

Then comes "Memory Daydreams Lapses", which has yet to catch my attention, quite honestly. A Kevin Moore-driven song, I really find it boring, honestly. A low point of the album.

The album closer, "Standby (Looks Like Rain)" really is a nice note to end on. It's another acuostic guitar-driven song with a nice, almost melancholy melody from Kevin Moore. It seems to end out of nowhere, and leave you hanging, which I quite like.

In review, OSI is NOT the mix of Moore, Matheos and Portnoy that one might expect. It reminds me of Porcupine Tree, probably because of the dark tint the entire album has. This album is full of wonderful riffs and interesting keycraft. The drumming is also a strong point. There is nothing here to remind you that Mike Portnoy is sitting behind the kit, which, in my opinion, is a good thing. This is not a barrage of notes, but rather, it takes a few really good notes and arranges them in an interesting way. I highly suggest for the fan of Porcupine Tree, Tool, and perhaps even Pain of Salvation and Riverside.

4 stars for this unique side project.

This is the first OSI album that I deeply hear in its integrity... And I'm really surprised!

I'm not exactly surprised for the originality of the songs, because they are a mix between modern metal and Kevin Moore's Chroma Key, and it's nothing really new or groundbreaking... I'm surprised for the great quality of every track included here! I think that Jim Matheos and Kevin Moore have real chemistry making music, because it's hard to find a better mix between guitars and ambiental keyboards out there.

Both the more ambiental tracks (Terminal, Radiologue...) and the harder songs (The Escape Artist, Be the Hero...) are prime quality experimental metal tunes. The collaborations also make the album even better. Mikael Akerfeldt sings great in Stockholm, and Tim Bowness's interpretation is also very interesting in the bonus and very worthy track No Celebrations, in a very different style of what he makes with Steve Wilson in No-Man.

And of course, the presence of Gavin Harrison is another point in favour of this album... His technical and really talented drumming fits perfectly to this music, and he gives a lot of textures to the songs, and tons of power in the harder tracks. I don't know how has Mike Portnoy with OSI, because I've not heard the other band's albums, but Harrison sounds like he is with them for years.

Best tracks: I like every song of the album... It's really homogene. But I specially enjoy with the splendid ambiental track Terminal (specially the longer version...), the powerful Be the Hero, the intense Radiologue, and the great guitar melodies in Blood.

Conclusion: I really like this album, and I'm really surpised with the quality of the music made by this two talented musician, with the help of great collaboration like the awesome Gavin Harrison's drums. So if you want to hear powerful metal tunes in the vein of the harder Porcupine Tree's moments, mixed with ambiental electronic music similar to things like Chroma Key, "Blood" will provide you a great listening time! Strongly recommended.

My rating: ****

I really need to rate this album for two reasons: First, I'm a great fan of this band since their beginning, and in that time I still wasn't a prog music fan, but I feel now very influenced by the prog music, and specially for this group. Second, and most important, since the release until now although I never tire of listen this album, and it could pass many many years I'll still listening. I understand that there's many guys in this site who thinks that the first OSI album, and even OSI in general enters on the category of "Good, but not essential", but I think that is because this people consider that only the Old-School (Pink Floyd, King Crimson, Yes, and company) could enter in the category of masterpiece. That's all I have to say... one more thing, if you're looking for fresh and new music, off the comercial and conventionsl, I strongly recommended to you to start with OSI's debut album.

Could be consider like power pop... but is very enjoyable...

Their second album is kind of a "heavy Chroma Key" more oriented into the Kevin Moore inspiration... sure there are heavy songs, and the excellent guitar riffs from Matheos... but you know, their are not into catching prog fans... they're just making interesting and original music into a very dense atmosphere...

The story continues with the end of the first album... this secret agent find out that he's if free 'cause they dissolve his secret spay division... so the album deals with his struggles to get a "Free" life and try to reconnect with the regular people... With this plot, you'll find Moore having fun been very ambiguous in the lyrics... so many people didn't get that is not about anybody but our secret agent life... I think the lyrics are really the outstanding thing about this album... People really get related with them...

Portnoy makes a decent job here, not overwhelming but is nice to see him been on some kind of held and not trying to bring every wall down... is nice and refreshing... The album has short songs... don't spect epics or something like that... Is all about sense and sound...

I really recomend it when you have time to really dedicate atention... 'cause you'll be wonder what he really mean on every turn... is nice... so... com'on... this is very entertaining and again, not just about crazy riffs and though music... this is about sense and soul...

You'll find yourself wanting to be "Free..."