OSI

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.

Kevin Moore from Dream Theatre, Jim Matheos from Fates Warning, guests Mike Portnoy also from Dream Theatre, Joey Vera from Armored Saint.....sounds like a powerhouse lineup that could produce some excellent heavy prog doesn't it? Well, in this case on this album, it doesn't produce the fireworks you would think it would. The songs here are good, but sort of lackluster for the most part.

Where the first OSI album was more guitar based, this one brings in more keyboards. Nothing wrong with that at all. In fact, there isn't really much wrong with most of the instrumentals other than there just isn't enough of them on this album, and the tired sounding, non-dynamic vocals from Kevin only bring down the mood and sound of the music. What you end up with is a bunch of mid-tempo, mostly lackluster songs when you should be getting a bunch of hard hitting music considering who is involved in this album.

Moore stated that this album feels more focused. Well, it is more focused and consistent, that is for sure. But that really is the downfall to this album. There are a few highlights where the music sounds like it might just take off, but something always seems to restrain it from doing so. This is also not an experimental album, the music is really quite straightforward, with not much in the way of dynamics or innovation. Vocals sound tired and the instrumentals sound restrained. The vocals have a strange processed sound to them and that comes from the doubletracking that is used.

The album was put together by Matheos sending Moore guitar parts that he made up and Moore would arrange them to fit into the songs. I can't help but think that the guitar parts might have had a little more life to them before they hit the chopping block. Now, it's not that I have anything against using more keyboards, I'm all for it in fact. But all the life just seems to be taken out of the music just so it matches Moore's vocals. I don't know why he decided to double track his vocals either, yes it does give a certain atmosphere to the music, and if the vocals were more dynamic, then it might work, but all it does here is deaden the music twice as much.

There are a few highlights here, the ones that break the mold of the same sounding songs like "Go", "Home Was Good" (which actually uses some very nice atmospheric keyboards to break up the usual sound), and "Better", but those tracks get lost in the sameness of the majority of the songs here. As much as I wanted to love this album, I am disappointed in that it seems that I can't wait for it to be over whenever I play it. I don't think this album is really worth the effort it might take to locate it, so I have to consider it a 2 star album. It's just too flat, boring and there really isn't anything that progressive about it.

The project O.S.I. born in 2003 , when Jim Matheos , Kevin Moore and Mike Portnoy , three veterans of the progressive metal scene, decided to put together their own experiences, to create something completely new and unusual . After three years since the publication of "Free" second full length , finally sees the light of the third album entitled " Blood" and published by Inside Out Music . A little bit of Fates Warning (the best - those of " Disconnected" ) , a little Chroma Key (the project by Kevin Moore) , a splash of Porcupine Tree and Massive Attack: here is " Blood" It looks more solid and heavy oriented than in the past , the stylistic coordinates of this cd are always a progressive largely experimental, rock riffs , electronic inserts , dark atmospheres and ambient, and sporadic references to industrial

Next to the two mastermind Jim Matheos and Kevin Moore , we find for the first time the excellent Gavin Harrison (Porcupine Tree) on drums, to replace Mike Portnoy. Also of note the participation of Mikael Åkerfeldt ( Opeth ) as guest singer.

There are nine tracks that make up this disc , for a total duration of about 45 minutes. Tracks very complex and difficult to assimilate those contained in this " Blood" played mainly on dark atmospheres , hypnotic and overwhelming. In this sense a great job it performs the voice of Kevin Moore , very warm and special , perfect for these intense musical textures and decadent

Among the most successful pieces we can certainly count the initial " The Escape Artist " , magnificent song introduced by a short guitar arpeggio that results in a series of granitic riffs, ready to attack the listener . Very interesting is the next "Terminal ", a song more atmospheric, and thoughtful that shows us the soul more closely electronic of the band, while " False Start" returns on shores more purely metallic with heavy riffing and tight for a wild Matheos. Excellent moreover also "Be the Hero" aftertaste Porcupine Tree, and the ethereal and dreamy. "Stockholm" magnificently played by Mikael Åkerfeldt .

Ultimately, we are facing perhaps the best album ever produced by the award-winning company Matheos -Moore !! Beyond the technical skills put on display , what is striking about this " Blood" is an organic and inspired songwriting , though still sounds halfway between metal and avant-garde experimentation. the band has evolved their sound and make it more intriguing and compact. An excellent job in every point of view (although the production is excellent throughout )

What turns a "side project" into a legitimate act? If quality, consistency and a (now) 4 album discography are qualifiers, OSI is certainly a legitimate artist. Due to the quality found here and albums preceding "Fire Make Thunder" I find it surprising that OSI doesn't have a bigger following.

General highlights on this album

Great flow, ambiance, production sound quality, songwriting and post- metal quality here. Gavin Harrison's chops (Porcupine Tree, if you didn't know) tower over everything here - I here a lot of the metal moments of Porcupine Tree's last 4 albums or so thundering through every track - the guy's a monster on the skins. Jim Matheos (Fate's Warning) underlying guitar lines are meaty and memorable. Keven Moore's (ex-Dream Theater, if you didn't know) work here is awesome as well: the guy knows how to combine myriad keyboard elements to alternative prog-related metal music. I also find his vocal style surprisingly calming and subdued and surprisingly fitting to the music style.

The only downside I see here is that "Fire Make Thunder" is on the shorter side. A solid 4 star album.

GAVIN HARRISON plays the drums and composed one song for the album

Maybe if I start naming the drummer of Porcupine Tree, just maybe the people might put more attention to this great music. I mean, O.S.I is now a coherent side project with four albums and more than 10 years bringing great music to the world of prog and it's still an underdog, an unknown project. Well, this a great band and this album is maybe their most accessible for any kind of prog music fan. This is a great album to hear driving in the night through the country side. It's a vivid experience of different emotions and great moods and grooves.

Well, if you already know their other albums, you already know how this sounds: a great balance between layered keyboards, heavy guitars and soft paced vocals. The difference with their last effort "Blood", is that the music is less dark but more melancholic. The music takes you into an easy journey around a lot of landscapes and "visual" sounds. This is one of those few bands that can make interesting music and that the sounds emerge in my mind as visions. JIM MATHEOS commands the ride with great heavy guitar riffs and some really nice harmonic clean guitars. KEVIN MOORE is in charge of the ambient keyboards, sampling and his slow down tuned vocals, with that peculiar style in between depressive and sarcastic.

For those who haven't heard anything of this band but like Porcupine Tree, Oceansize, even Riverside or other alternative prog-rock bands, this band is for you. This particular album is quite accessible and short enough to make you want more. This is also a great match for those who like Moore's other work, such as The Chroma Key.

You'll find an instrumental track, based on a Harrison phrase that the band constructed from there. If you are interested in music with sense, melancholic and hard, this is a great alternative. O.S.I surely deserves more attention from the prog fans. You can start here. Fire Make Thunder is a solid 4 stars album.

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.