OSI: Discography (2003 - 2012)

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OSI: Discography (2003 - 2012)

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The word "supergroup" has often been used to describe O.S.I., one of the best-known progressive metal/progressive rock acts to emerge in the United States in the 2000s – and considering who has been leading O.S.I., that word is not an exaggeration. The leaders of O.S.I. have included guitarist/keyboardist Jim Matheos and lead singer/keyboardist Kevin Moore, both of whom bring strong prog and metal credentials to the table. Moore is a former member of Dream Theater (one of the top progressive metal bands of the 1990s and 2000s) and the founder of Chroma Key (whose work is prog rock but not prog metal), while Matheos' résumé includes his many years as guitarist for the well-known metal band Fates Warning. Other participants in O.S.I. have included drummer Mike Portnoy (known for his association with Dream Theater) and bassist Sean Malone of Gordian Knot (an instrumental progressive metal/progressive rock group that has been influenced by jazz-rock fusion).

O.S.I.'s participants have varied from one album to the next, but Matheos and Moore have been the core of the group – which has been heavily influenced by alternative rock and alternative metal. Some progressive metal bands have been oblivious to the alternative metal and alternative rock of the 1990s and 2000s; all of their prog and metal influences come from the 1960s, 1970s, and 1980s, and they operate with a decidedly pre-Nevermind outlook (Nevermind was the seminal 1991 blockbuster that turned Nirvana into alternative rock superstars and did a great deal to make alternative rock mainstream). But instead of ignoring alternative rock and alternative metal, O.S.I. have opted to draw on influences from different eras. O.S.I.'s long list of influences has included, among others, Pink Floyd, Yes, and King Crimson as well as Radiohead and Nirvana – and some of Moore's admirers have been surprised to find out that O.S.I. don't sound a lot like Dream Theater. But in fact, Dream Theater have not been a major influence on O.S.I.'s work.

Formed in 2003, O.S.I. named themselves after the Office of Strategic Influence – a short-lived, controversial government agency that the United States Department of Defense established in late October 2001 in response to the terrorist attacks of 9/11. According to BBC News and other major news agencies, the purpose of the Office of Strategic Influence was to spread pro-George W. Bush Administration propaganda and disinformation in foreign countries, but in 2002, Donald H. Rumsfeld (who served as secretary of defense under President George W. Bush until his resignation in late 2006) was quoted as saying that the Office of Strategic Influence had been discontinued in name even though its activities continued. By the time the progressive metal/progressive rock supergroup O.S.I. were formed in 2003, the Office of Strategic Influence no longer existed as an official department. O.S.I.'s first album, Office of Strategic Influence, was released by Inside Out/SPV in 2003; that debut was followed by O.S.I.'s subsequent Inside Out/SPV releases Free (which was their second album) in 2006 and Blood (their third album) in 2009.

by Alex Henderson, AMG

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OSI: Discography (2003 - 2012)

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OSI: Discography (2003 - 2012)

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Expectations ran high when O.S.I.'s debut album, Office of Strategic Influence, first came out in 2003 (Metal Blade reissued the album in an expanded edition in 2010). Indeed, it's hard not to have high expectations when an album boasts musicians who have been with Fates Warning (guitarist/keyboardist Jim Matheos), Dream Theater (keyboardist Kevin Moore, drummer Mike Portnoy), Chroma Key (Moore), and Gordian Knot (bassist Sean Malone). And O.S.I. don't disappoint on this excellent progressive metal/progressive rock outing, which demonstrated that prog-metal didn't have to be oblivious to alternative rock or alternative metal. Perhaps some listeners expected O.S.I. to sound more like Dream Theater, but that clearly wasn't what they were going for; chugging alt-metal riffs are heard instead of power metal-type riffs, and the alternative influence is a crucial part of "shutDOWN," "Horseshoes and B-52's," and other intriguing tracks. Drawing on different rock eras for inspiration, O.S.I.'s debut contains elements of Pink Floyd and King Crimson but also contains elements of Radiohead and Nirvana, and if anyone doubts for a minute that O.S.I. are mindful of a post-'80s, post-Nevermind world, he/she need only listen to their imaginative cover of Pink Floyd's trippy "Set the Controls for the Heart of the Sun" (which was first heard on Pink Floyd's second album, A Saucerful of Secrets, back in 1968). Far from an exercise in '60s nostalgia, O.S.I.'s ambitious remake has no problem making "Set the Controls for the Heart of the Sun" relevant to the alternative rock scene of the early 2000s. Not all of O.S.I.'s subsequent albums were as consistent or as impressive as Office of Strategic Influence, but O.S.I. got their recording career off to a fine start with this absorbing debut.

by Alex Henderson, AMG

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OSI: Discography (2003 - 2012)

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Prog metal supergroup O.S.I. return with their second album, which finds the duo of singer and keyboardist Kevin Moore and guitarist Jim Matheos moving away from the fairly standard-issue epic metal of 2003's Office of Strategic Influence into something that sounds more like Evanescence's gothy metal-pop crossed with late-era Radiohead's fondness for electronic interference. Moore, formerly of Dream Theater (his ex-bandmate Mike Portnoy plays the album's few non-electronic drums), and Fates Warning leader Matheos are venturing into relatively new territory here: Free is downright commercial in a way that none of the duo's previous projects have been. Moore sings with a new, less aggressive voice that's unfortunately reminiscent of any number of faceless alternative rock singers, and Matheos' guitar is downplayed in favor of keyboards and sequencers. Even on "All Gone Now," which has the most overtly metallic riffs on the album, the guitar is overpowered by layers of twitchy electronic cut-up rhythms and twinkling keyboards. The songs are catchy enough that it's not unthinkable that unadventurous rock radio programmers could take a shine to the title track or "Go," but Fates Warning and Dream Theater fans might be less impressed.

by Stewart Mason, AMG

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OSI: Discography (2003 - 2012)

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OSI: Discography (2003 - 2012)

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Many of the progressive metal bands that emerged in the 1990s and 2000s have been caught in a stylistic time warp. Operating with a pre-Nevermind, pre-'90s perspective, they get all of their inspiration from power metal and prog rock bands of the '70s and '80s and show little or no awareness of alternative rock or alternative metal. But O.S.I.'s third full-length album, Blood, is a prog-metal outing that has a strong alt-metal/alt rock influence. No one will accuse Blood of going out of its way to sound like Dream Theater, which is ironic in light of the fact that the co-leaders on this 2009 release are singer/keyboardist Kevin Moore (formerly of Dream Theater) and guitarist/keyboardist Jim Matheos (of Fates Warning fame). If any prog-metal group should be oblivious to alternative, it should be O.S.I. But in fact, the sound on Blood is basically prog-metal meets alt-metal and alt rock. Prog-metal often has an overt power metal influence; Blood's approach, however, is Pink Floyd and King Crimson by way of Radiohead, Nirvana, grunge, alt-metal and alt rock. Instead of bright, shiny '70s/'80s-like guitars, we're talking chug-chug riffs and downtuned guitars. Blood has its aggressive, forceful moments, but even so, the material is quite melodic – and most of the time, O.S.I. are moody and darkly atmospheric more than anything. Some of that moodiness comes from O.S.I.'s appreciation of Pink Floyd and King Crimson, but some of it comes from their appreciation of Radiohead. So there is no getting around the fact that this 47-minute CD draws its inspiration from different eras and different generations of rock. Some headbangers who know Moore from Dream Theater and Matheos from Fates Warning might be surprised by how much alternative appeal Blood has, but that alternative appeal is a plus on an album that falls short of earth-shattering but is still solid and worthwhile.

by Alex Henderson, AMG

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OSI: Discography (2003 - 2012)

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Jim Matheos is a pretty busy guy these days. In addition to his most recent collaboration with singer John Arch and Fates Warning’s rather sporadic activity, he also has a long running project called OSI with Chroma Key vocalist/keyboardist Kevin Moore. Along with being the pair’s fourth studio album under the name, it is also their second to feature Porcupine Tree drummer Gavin Harrison as well as Matheos handling the guitar, bass, and some of the keyboard duties.

While one can describe this project as sounding like a more mechanical version of Porcupine Tree or Opeth’s Damnation, I like to think of it as sounding more or less like clinical depression. The pacing is lethargic, the guitars are stiff, the vocals are coldly indifferent, and the keyboards and electronics give things a bleak atmosphere. Overall, it has a solid prog umbrella but one can also hear flashes of industrial, metal, electronic, and ambient music. In short, it uses several different elements to create a uniquely melancholic style.

And seeing as how the project’s material was entirely conceived and recorded through a series of emails, it isn’t too surprising to say that the band members’ performances are rather disjointed. Yet this seems to work in the album’s favor as the approach really adds to the isolated aesthetics. Moore is arguably the group’s standout member as his keyboards and softly chilling vocals are the release’s most dominant elements though his limited range is certainly an acquired taste. Matheos and Harrison also put out some solid performances with the former providing many a crunchy guitar riff.

Even though the two masterminds of this project are no strangers to this type of music, it is interesting to say that the softer songs tend to be the most enjoyable on here. “Indian Curse” and “Wind Won’t Howl” are the best tracks as the former showcases a predictably exotic ambience while the latter is made memorable by a lullaby-like piano melody that is complemented by a series of building guitar chugs and echoing vocals. “For Nothing” is somewhere between the two but manages to be a highlight thanks to a guitar melody that is guaranteed to leave you drained.

There are a few heavier tracks to be found though there’s certainly nothing that’ll make one’s head bang too harshly. The closing “Invisible Men” probably has the highest degree of guitar involvement while lead single “Cold Call” is driven by a particularly clinical guitar that weaves around the monotone vocals at a lumbering pace. In addition, “Enemy Prayer” is a competent instrumental and has some of the best drum work.

The album’s other two tracks are the odd ones out and actually manage to be rather upbeat and electronic. “Guards” was my least favorite track when I was first listening to this release but it gradually makes a good impression with its prominent drum beats, funky bass grooves, and crunchy breakdown. “Big Chief II” is also pretty solid and jumps between heavy guitar playing and the closest thing that Moore has to a rapid-fire vocal line. While these tracks do feel somewhat out of place and could’ve been easily replaced by more somber numbers, the solid writing and gradual appeal do make them more than worthwhile.

Overall, this is an album that is somewhat tricky to listen to. It’s definitely not a release that exerts a great deal of energy or technicality and can really only be appreciated when in a specific mood for it. But even if it may feel a little too short at times, the pair’s songwriting skills really make this unexpected treasure that shouldn’t be taken too lightly. Consider this to be the latest addition to my lazy Sunday playlist!

Current Highlights:
“Cold Call”
“Indian Curse”
“Wind Won’t Howl”
“For Nothing”

by Twisted_Psychology, metal-archives