BLOOD

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.