O.S.I. (Office Of Strategic Influence) - Office Of Strategic Influence (2003)

[Progressive Metal]

For many heavy music fans 'progressive metal' is a place they generally avoid going to. It is understandable, as most progressive music isn't likely to simply entertain, but instead forces you to pay attention and put in some real effort to unravel it. With complex and often lengthy passages, and vocals generally more operatic than heavy music allows, these bands leave most listeners confused - and often bored. When O.S.I. first emerged, formed by guitarist Jim Matheos of Fates Warning and keyboardist Kevin Moore of Chroma Key and Dream Theater, it seemed this would be another band creating complex music for a small group of listeners. From the moment 'The New Math (What He Said)' starts the influences of the two main men shine through, but this is something very different. The music is still complex, but it feels as though the passages where a mass audience would lose interest have been excised, getting straight the point. At only three and half minutes the track is an instrument, and sets up the listener nicely for what they will hear over the next 45 minutes. Track 2, 'O.S.I. (Office Of Strategic Influence)', smoothly transitions from the last song with barely a space to show the album has moved on from the opening track. Vocals are handled by Moore, and although his voice isn't amazing, it perfectly fits the pseudo spoken-passages he places in each song. There is moments of big metal glory, with super heavy breakdowns appearing suddenly, but nothing here is over used or outstays its welcome. 'Horseshoes And B-52's' is like an industrial horrorshow, before moving onto simpler moments like the moody 'Head' or the Filter-like 'Hello, Helicopter!'. The album's centerpiece, the 10+ minute 'shutDOWN' has prog-royalty in Porcupine Tree's Steven Wilson providing vocals, and is for its majority a grinding megalodon. Although the album is very listenable, there are still moments of progressive oddity, such as the electronic-tinged 'Memory Daydreams Lapses', but listened to as an album (rather than individual songs) these moments work as a beautiful contrast to the heavier tracks. There is a chance that this is an album that will open the door to those who would normally avoid anything with the word 'progressive' in the title, providing to listeners a sort of beginners guide.

Celtic Frost - Monotheist (2006)

[Black Metal]

I can't recall what led me to listing to this record, the final release for the band. Possibly the reunion in 2001 that lead to this and the following mess that made the public on their break-up (some band members said we are done, others said elsewise). In any case, I am so glad I picked this up for a listen. Having no past experience of listening to then, Monotheist can only be described as a heavy, dark, insulting & unrelenting effort from Tom Fischer and the band. The lead track 'Progeny' leaves no questions left answered - you know what you are in for. A brilliant opener. You will see this through the album where there are interludes of a drop in pace but don't think you can take a rest as Fischer will still command your attention. 'Ground' poses the question on a religious level. Here we get a chance to listen to that chunky bass that you might not always hear in the mix on most of the record. I have to say the highlight for me is track 3 'A Dying God Coming Into Human Flesh'. Following a very moody start it escalates to a heavy proclamation of the song title as eerie and heavy as it gets. 'Drown In Ashes' is what I mean re the quiet but heavy/eerie intervals through the album. From here you have still approx. an hour of listening to go. Hold on tight!! In summary, where it is their final release or not, Monotheist stands on its own as a classic example of the early move to heavy black/doom/death perhaps - dang-it it can't be locked into a genre on its own. It's just a unique effort and you would be well served to take a listen and judge for yourself.