OSI

'Re:Free' is an EP by OSI released in 2006, practically an extension of the band's 'Free' studio album from that same year, as it features three reworked by Kevin Moore songs from the album, namely 'GO', 'Kicking' and 'Home Was Good'. Obviously in line with the more experimental nature of the album, the remixed songs on the EP are also very experimental, extended in length and firmly pertaining to the electronic genre that is ever so familiar to Moore. The reworked songs resemble something that might have been done by Ryuichi Sakamoto or has been used as a bonus track on a Massive Attack album. It is in any case an interesting extra release, using as its basis material from the album that has been re-imagined by the artist in a somewhat "choppy" and even glitchy manner, pretty much anticipating the popularization of glitch pop in the 2010s. Especially interesting is the 10-minute remix of 'GO' whose glitchy sounds really suit the style of the original track. An overall nice effort that extends the sonic image of the 'Free' album.

The culmination of OSI as a project is 2012's enigmatic 'Fire Make Thunder', the fourth and final installment in the catalogue of Jim Matheos and Kevin Moore's side project. Featuring Gavin Harrison again as on 2009's 'Blood', this is the only album by OSI that has no other contributors or sessions musicians, with Moore handling all vocal duties. Now, 'Fire Make Thunder' is a general stylistic departure from the previous three albums, since it is much more mellow and cathartic, with a strong emphasis on the build-up of each song, featuring just eight really solid tracks. A darker atmosphere and a more profound tonality are to be heard on this record, which has a somewhat urban feel that is not so present on other releases by OSI. The lyrics are as usual cryptic and political, matching perfectly the alienated soundscapes of the album - great examples of what this whole record is all about are the opening and closing tracks, also the longest on the record, namely 'Cold Call' and the 10-minute final movement of the album titled 'Invisible Man'.

Stylistically this is the album that resembles Kevin Moore's Chroma Key project the most, another aspect that could not have been attributed to past records, much more pertinent to the tropes of a Fates Warning album. Yet 'Fire Make Thunder' is the most mellow, most textured and arguably most melancholic and charming listen of the entire four-album discography of the band, which is what makes is quite unique. The songs are yet again very varied and memorable, with other great examples of OSI's strengths being 'Indian Curse' and 'Wind Won't Howl'. All of this is to say that OSI represents one of the most intriguing and important episodes in the history of 21st century progressive rock, albeit a studio-only collaborative project, with the music of Matheos and Moore often transcending genre and displaying a fascinating feel of alienation and melancholy that is truly unforgettable.

Still packed with strong and vibrant ideas, still exuberantly contemporary, sonically unorthodox and experimentally tasteful, OSI's third album 'Blood' is another tremendously well-done entry in the discography of the short-lived project headed by Jim Matheos and Kevin Moore. And obviously with a well-defined and recognizable musical identity, 'Blood' had to further solidify OSI's presence (or rather, existence) as an experimental heavy prog rock project that dares to take the genre a step further, always with a taste for the inventive in the face of the extremely well-conducted blend of heavy riff-oriented music with strong influences from electronica and ambient, resulting in quite an otherworldly, memorable experience. Recruiting then-Porcupine Tree drummer Gavin Harrison as a replacement for Portnoy who had described his previous experience as "frustrating", one can definitely hear a very Porcupine Tree-ish influence this time around - the album is a nearly perfect symbiosis of the earlier heavy, moody sound and the more experimental and programmed songwriting of 'Free', interwoven into the overall dark and ghastly atmosphere of the album, not quite as on an industrial record but still very alternative and rampant, and in a sense, as melancholic and frustrated as a 'Fear of a Blank Planet'.

The fast-paced riffs and the menacing synth explorations of Kevin Moore are certainly elevated by the tremendous performance of Harrison who recorded his parts remotely and never met the core members of the band. Allowing themselves to retrace their progressive roots, OSI focused on writing more daring, intricate and experimental music - the outcome is once again very focused album that exemplifies everything that makes this project special, and with virtually no filler this is arguably the most consistent album released by Moore and Matheos, full of stellar compositions that should appeal to fans of dark and heavy progressive music, drawing upon the usual influences of alternative and electronic music. OSI are definitely more sonically expansive than a Fates Warning, more eclectic than a Dream Theater, and very often as moody as a Pocupine Tree. Particular highlights on 'Blood' include 'The Escape Artist', 'Terminal', 'Radiologue', 'Be the Hero', 'Stockholm' (with lyrics and vocals by Opeth's Mikael Åkerfeldt as well as the title track.

Jim Matheos and Kevin Moore-led project OSI followed up on their debut album with 2006's 'Free', a record that was supposedly not in the plans after the release of its predecessor, but one that found the light of day because of a gap in the schedules of both musicians who would re-join forces and following a similar writing process would go on to share ideas and compose an album of entirely new material for the studio-only prog rock project. Joined once again by Mike Portnoy (this time as a session drummer), bass duties had been handed over to Fates Warning's Joey Vera, a musician both Matheos and Moore were familiar with and found to be a perfect fit. Musically 'Free' expands the explorations of the band's first album but this time there is a greater emphasis on programming and electronics, as the sound of the album is significantly more experimental and focused, almost as if the duo had abandoned the heavier and more progressive aspect sough after on 'Office of Strategic Influence'.

Furthermore, it seems like 'Free' has a much more pronounced tendency for groove and texture, the songs are significantly shorter in length and the build-up of atmosphere and playing around with various sound design techniques are more upfront. The rhythm section is less prominent, a bit more mechanical, which does not undermine the overall sound of the album - the production is once again vivid and professional. The "updated" approach and the greater focus on swiftly introducing more unusual soundscapes and effects leads to several fabulous compositions, many of which are among the best material of the band, quite experimental, moody, not necessarily heavy yet featuring very rampant riffs - the title track, the gloomy 'GO', 'All Gone Now', an explosive track, the drab 'Bigger Wave', and 'Simple Life' are all top-tier OSI songs that display the full extent of the band's musical force. The rest of the material is really good and memorable; there is a large amount of bonus material, too, which is more demo-like, choppy and raw, also quite interesting to hear. A great follow-up for Matheos and Moore.

OSI is an exciting studio project masterminded by Fates Warning guitarist Jim Matheos and original Dream Theater keyboard player Kevin Moore, originally intended to serve as a progressive metal supergroup that could further develop ideas by Matheos which were later on transformed during the process by Moore through his approach to writing, bringing in a strong influence from electronic music and ultimately redirecting the sound of the entire project. The lineup on their debut release is completed by Mike Portnoy on drums and Cynic bassist Sean Malone, with Steven Wilson making an appearance on one track. The resulting release is expectedly a tremendous mixture of different influences, an album that in many ways redefines progressive rock as it takes its "basic formula" and offers a completely new approach to writing and presenting this style - the blazing guitars of Matheos synchronize viciously with the experimental synths of Kevin Moore, who also sings on the majority of the album.

The prog metal touch is obviously added by the presence of Portnoy and Malone, with the former staying true to his signature technical style of play, always interpreting each composition in a very unique manner, and the latter being heavily influenced by the likes of Mick Karn which obviously brings in another great influence. From the opening notes of the very first track, the instrumental 'The New Math', the listener is introduced to a very organic, heavy sound, similar to early 2000s heavy progressive music, yet somehow more atmospheric, occasionally sounding retro but never really embracing offering a rendition of all too familiar sounds. A true taste of the band comes with the second track 'OSI' as the vocals kick in, adding a particular dimension of the music that makes it even more recognizable. The rest of the album unfolds in a beautiful way as each track presents a different feel, a different aspect of the band's style - Moore's moody soundscapes provide a counterpoint to the raging riffs of Jim Matheos, which renders the entire album as very textured and melodic, which might seem surprising for a progressive metal album. Effective and intelligent use of ambience and technology grace 'Office of Strategic Influence', a tremendously well-conceived and performed album, offering a somewhat redefined heaviness. Occasionally moody and vintage, occasionally experimental and cold, this release really has all the ingredients of an excellent and innovative modern progressive rock album.

1. The New Math (What He Said) 2003; yes 20 years and this major album risks becoming unclassifiable; well polished intro, prog metal, the rhythm explodes suddenly, yes we feel the DREAM THEATER, yes the FATES WARNING, yes it moves like putting your fingers in a socket; this bass, these voice-overs, just orgasmic, but what is that sound? 2. OSI for the eponymous title, louder, suddenly more electro, more hypnotic, more stroboscopic; more tweaked, to get into a trance even faster; sound effects, a violent riff, that reminds me a little of what WILSON was able to do, what he's on, OK! the monolithic guitar solo with the devastating liquid synth solo, this bewitching, cottony, distant and present voice of Kevin, OSI! 3. When You're Ready ah arpeggio followed by a detuned and syncopated tune, clashing with the progueux in phase with its slow musical monotony which suits it 4. Horseshoes and B-52's just watch the music video, it will explain this avant-garde and futuristic sound better than anything; punchy, rhythmic sound, a strobe, black, an electric discharge, lightning striking you, the musical quintessence of prog metal, that's it! this drum roll, this haunting sound, I haven't found anything better! 5. Head with a Japanese sound from afar, Kevin's well-posed voice and this vague riff that sows and disrupts the clichés; the angry guitar that sets fire, ah the pleasure of moving... and not dozing off, yes new blood prog in there; it goes up, the harsh, metronomic riff becomes hard; break with vibrating bass more than that you can't, your ears are on alert, something new every 10 seconds, this synth which fills the back of the room, no escape 6. Hello, Helicopter! PINK FLOYD style guitar arpeggio to breathe a little, we need it after this perfect start; hold the voice resembles that of the Archangel; more Floydian, more latent, more in research, title which states yes all that is true

7. shutDOWN...I always thought there was more...I can do better...what do I understand English now? The oriented synth of the Mediterranean banks; Hey Steve comes to put his voice there... shutDOWN yes I understand well, which is the egg or the chicken, yes I feel the vibration of the PORCUPINE TREE, but the good one eh, the one that stirs your stomach musical, which launches emotion; break halfway through, another whispered phrasing sample, the declination unfolds; the metal prog becomes metallic, alternative on a bad ROGUE MALE, yes I couldn't help it, well it's eructive...eruptive! 8. Dirt from a Holy Place arrives and sends into the ethereal; make way for electronics, yes this cold dark-wave side which is always underground and visionary; ambient sound which leaves on the tortured Floydian mind for a time but that's not all... the drift which follows is intended to be dark, heavy, viscous, diabolical; we arrive at the stoner sound that MONKEY3 is currently magnifying; the explosive finale, on a supercharged, immense THE GATHERING 9. Memory Daydream Lapses with hypnotic overbass, just to make you epileptic, yes too many lights and too many vibrating sounds have created epilepsies, especially now and you forget it, zombies are actually being born; inverted samples, that's it, the anti-metal prud association is going to come and annoy us again with their delusions of satanic sounds, crazy ones, bad ones; the synth pad lasts until the end 10. Standby (Looks Like Rain) for the conservatory ballad, or how to regain self-control after this long and demanding apnea; a tune with acoustics, samples for fun from time to time that's enough 11. Horseshoes and B-52s (bonus video clip) just for the pleasure of seeing in jerky black and white, yes some will understand

The bonus CD edition includes almost 30' more with: 1. Set the Controls for the Heart of the Sun.. to reinforce the group's reminiscences; good higher, louder, more tweaked here with wandering jazz-prog piano and Mike's crazy drums who gives it his all 2. New Mama for a trip with tweaked vocal samples too! 3. The Thing That Never Was... it could have been that of METALLICA... intro which could have been on the DREAM THEATER, yes all that holds up; a full, immense sound, something to listen to with your fingers in the socket to... be in phase; a long, hypnotic and crazy crescendo with a dithyrambic ending.

OSI therefore released an OMNI at the start of the millennium and I had to talk about it, an essential and underrated album; well with Jim Matheos from FATES WARNING, Kevin Moore and Mike Portnoy from DREAM THEATER and Sean Malone from CYNIC I tell myself that it couldn't be otherwise.

Or "Is it worth thinking about what is not"? ?

It would be possible to call this album that, if I were one of the authors of this certainly outstanding opus. The third one in the band's discography - and the most atmospheric, with all the best and brightest facets of "Neo-Progressive". The main contribution to the music and lyrics belongs to Kevin Moore (ex-Dream Theater) and Jim Matheos (ex-Fates Warning). Furthermore, such giants as Gavin Harrison (ex Porcupine Tree) and Mikael Åkerfeldt (ex-Opeth) "made an appearance" on the disc, the latter sings in a composition with a non-trivial name "Stockholm" - surprisingly combining the traditions of modern progressive and doom metal. In the middle of the song, there is an ambient insert, atmospherically telling about someone's sudden catastrophe. One of the highlights of the album. Also featured on this album is Tim Bowness (ex-No-Man) on "No Celebrations"! Uncharacteristically for Bowness, a heavy track, which he successfully copes with, bringing the colors of the past. And the main highlight of the album, in my opinion, is "Radiologue" - with a pronounced "raging" riff component, beautifully intertwined with the acoustic component. The song seems to go through a gloomy deserted urban landscape: from the lost to the lost. Ripples, riffs, electronic instruments, guitars! But the main thing is the voice that Jim Mateos uses as a bright tool to convey the atmosphere, because it is what this amazing record gives in full! I will focus on the review of these tracks - as they most clearly demonstrate the talents of these musicians. The rest of the things you just need to hear in order to understand the full power and beauty of this conceptual canvas. "Blood"? No, never! But this is a very atmospheric, urban, majestic canvas! For connoisseurs of the genre - on a par with the outstanding!

This group consists of Fates Warning members and special guests that put out a really good debut recording which only gets better with repeated listening sessions. I like the satirical approach they take to government and current state of affairs, as they comment on the media and the masses. OSI has released some very strong albums over the years but I find this one to be their strongest and best. They strive to make music that makes you think, which like Rush is the hallmark of great progressive rock. All the OSI catalogue is worth checking out but I would definitely start with this one.

Taking their name from the abbreviated form of the briefly engaged US government agency named OFFICE OF STRATEGIC INFLUENCE (which serves as the title of this debut album), this supergroup was the brainchild of Fates Warning guitarist Jim Matheos who collaborated with Kevin Moore, keyboardist and vocalist for the art rock band Chroma Key. Adding to the well known musicians on board came Dream Theater's Mike Portnoy to fill the percussionist spot and Sean Malone of Cynic to play the bass. Originally the band pursued Steven Wilson of Porcupine Tree to be the vocalist but he declined leaving them to fend for themselves and adopt many of his influences without him. Although intended to be a one-off project and studio band only, OSI continued recording new albums after their debut was met with positive reviews which led the band to continue the project and release future albums.

While touted as a progressive metal band, the truth is that there is little of Dream Theater or Fate Warning influence to be found on this one. The focus of hero worship on this one is primarily limited to the likes of Porcupine Tree's more metal ventures as heard on 'In Absentia' or 'Deadwing' except Kevin Moore's vocal ability sounds more like Eric Woolfson of The Alan Parsons Project fame. Despite his refusal as lead vocalist Wilson did however contribute to the outstanding track 'ShudDOWN' which is the best Porcupine Tree track not on a PT album. Overall the music on OSI's debut is tantamount to the heavier riffing style of PT with songwriting compositions to match all painted with the art rock electronica heard on Moore's Chroma Key project.

The fact is OSI sounds so much like Porcupine Tree that i had to scan my liner notes upon first listen to find out if this was some clandestine Steven Wilson project but other than the guest spot on one track it is clearly not. I feel the band borrowed a little too heavily from the Porcupine Tree sound and granted Steven Wilson's sound was more than a worthy supply of inspiration, OSI tries a little too hard to fully replicate it leaving them with very little original sound of their own. The fact that a Fates Warning and Dream Theater combo effect is totally absent is rather disappointing. The project could've been a much better one if they had. While i can't say i don't enjoy listening to this one as the tracks are catchy, sombre and excellently produced, the combo effect of the PT influences reigning supreme with the lackluster vocal talents of Moore leaves me slightly cold on this one. For those who care less about blatant ripoffs of other's signature sounds, you might like this more than i do.

Now I love Dream Theater! And I love Fates Warning! And I kinda like Chroma Key too! So when Mike Portnoy, Jim Matheos and Kevin Moore banded together to form OSI and release their debut album 'Office of Strategic Influence', I knew it was an album I had to have!

OSI blends all the elements of each individuals respective bands perfectly. Jim Matheos' unique guitar riffs are as impressive as always, especially when backed by the insane drum skills of Mike Portnoy. And Kevin Moore's eerie keyboards add so much depth and ambience to the album, and whilst his vocals do, at times, seem to drone on, they do suit the music very well. It's a very experimental, at times electronic-sounding take on progressive metal, and it works well!

Highlights include 'The New Math (What He Said)', 'When You're Ready', 'Hello, Helicopter' and the haunting 'Shutdown'. It's evident in the songwriting that these guys all know each other well and have a great chemistry when it comes to working together.

But that's not all! If you own the special edition version which comes with a bonus disc, you're in for a treat! While bonus discs are usually nothing more than excuses to release various different versions of an album at higher prices, this one really is worth the price. 'Set the Controls for the Heart of the Sun' and 'New Mama' are both nice little ambient pieces, but the real gem is 'The Thing that Never Was', a 17-minute instrumental track that comprises of all the best parts of the album. Doesn't sound like much, but it's actually a pretty decent little extra.

Overall this is a great album for fans who like their progressive metal to be a little more experimental, and if you're a fan of any of the individual members or their respective bands, you will not be disappointed.