This is a page dedicated to the five-piece metal band, Osmosis; they hail from Sacramento, California, United States. In all actuality, the following article is about the musical group's evolution over the years, ranging from when they put out their first release in 1995 to their recently-issued studio EP. Other albums, such as CD/DVD combos, will not be featured here.

The Early Osyears: 1994 to 2001Edit

Where's My Osmosis?Edit

  • Where's My Osmosis? was the very first recording by Osmosis. Independently released during the summer of 1994, which was nearly a whole year after the band was established, it consisted of vocalist Ron Wilkes, guitarists Kevin Milstein and Marco Simmer (the latter would replace the original frontman), bass player Ash Beale, and drummer Corey Farrell (who used to have a falling out with the guys due to a cannabis addiction two years later). Their older days are rather jarring when you compare the "old Osmosis" to the "new Osmosis": it was essentially a alternative metal-tinged EP. However, very few instances of post-hardcore and funk music also showed up occassionally. Hell, Track 5 (entitled "Open the Body") incorporated disco! As of the time this article is being written, the Where's My Osmosis extended play is extremely difficult to come across. Produced by Osmosis. In total, it had five tracks.

You Can't Beat MeEdit

  • You Can't Beat Me was the band's second EP. Similar to the predecessor, the boys self-released the album. It would be Wilkes and Milstein's last Osmosis record in which they made any contributions whatsoever. Musically speaking, there were really no glaring differences between this and Where's My Osmosis?, except for the fact that two songs ("You Can't Beat Me (Bitch)" and "Murder Yourself") on that extended play were revamped. Three of the tracks ("Between the Legs", "Live Like You've Never Lived", and "Vegeta's Not a Food") have never had newer renditions on any subsequent albums; the reason for this has been unclear. Produced by Osmosis. There were six tracks in all, one more than the last EP.

I'll Have You KnowEdit

  • I'll Have You Know was Osmosis' very first full-length studio album. Issued under the punk-centric record label, Epitaph Records, on June 18, 1996, the lineup was slightly different: Beale is still the bassist, but Adam Guerilla and Jeremy Delson (his only appearance, by the way) were the guitarists, and one of the original guitarists, Simmer, became the new, official leader. Because of his sudden craving for cannabis at the time, I'll Have You Know would've been percussionist Farrell's last work with the band; he returned on Ruin and Salvation Are Two Different Things, which was released fourteen years succeeding this album. Osmosis' debut studio album continued the style of their first two EPs, although there is more emphasis on the funk and post-hardcore genres than any of the metal present. On top of that, Marco Simmer showcased a bit more variety and had control over his vocals than Wilkes; the latter's style was comprised of merely shouting indecipherably all while sometimes singing in a rather grating voice. Even though I'll Have You Know had no accompanying singles, two of the tracks on the album earned, albeit eccentric, music videos; these were "You Ain't Goin' Down in History" and "Gohan's Your Daddy" (initially on You Can't Beat Me). Produced by Scott Litt and Steve Felton, with additional recording by the band members themselves. The CD had a total of eleven songs, most of which received their titles from various anime/manga franchises.

The Dragon Ball's the Most Important Body PartEdit

  • The Dragon Ball's the Most Important Body Part was the second full-length album that the band released. Once again, Osmosis was under Epitaph Records at the time this CD hit retail stores: September 1, 1998. The lineup of the group changed from Corey Farrell to Chris Nevadin on drums and Jeremy Delson to Phoenix Riviera, who also supplied the alto saxophone and backing vocals to Osmosis; Simmer and Beale retained their positions, and until their third EP, it was the last to feature guitarist Adam Guerilla. TDBMIBP was most unlike anything the band did beforehand, stylistically, for the band experimented with various musical genres (noticeably jazz, nu metal, desert rock, folk, and mathcore) all while still utilizing elements of alternative metal; there are rare instances where this even occurs in the same exact song. Simmer demonstrates much more of a vocal range here than previously, occasionally using the techniques of crooning, death growls, spoken word, shouting, and exhales; comparisons between him and Mike Patton were frequent. One of the album's tracks, "Battle of the Planet's Wife", received a music video, and the reception to the CD itself was unanimously positive, despite commercial sales being rather piss-poor. Produced by Matt Bayles with additional recording by Osmosis. The album featured ten tracks.

Kenshiro Hates CompanyEdit

  • Osmosis' next album, Kenshiro Hates Company, was their third full-length studio album and the CD responsible for skyrocketing them to fame. Released through Epitaph Records on April 17, 2001, it would be the band's first to have Gaghiel vocalist Shawn Lorelei contribute to the group as their main guitarist, whilst the other four guys kept their duties. Mushroomhead keyboardist Shmotz became a session member during the recording sessions of the album, suppling electronics and turntables. Kenshiro Hates Company has similarities to its predecessor, in the musical sense that Osmosis' style still remains as a spastic blending of genres combined with the alternative metal genre. It is also the band's first album to contain guest appearances by certain other musicians ("Stayin' on Model's for Wimps!" features Helmet frontman Page Hamilton). The songs "GT Stands for 'Godly Trainwreck'" and "No Such Thing as a Shaman King" both received music videos. Produced by System of a Down guitarist, songwriter, and occasional vocalist Daron Malakian, with additional production by the band members. Kenshiro Hates Company contained twelve tracks.

The New Wave: 2003 to 2009Edit

Break the StarsEdit

  • With their third studio album, Kenshiro Hates Company, Osmosis finally earned just enough recognition as a band: their relatively small fanbase had an increase, and as for the album itself, it received positive remarks from critics and others alike; an ongoing act of criticism, however, has been its inaccessibility for the general public. Nevertheless, the band continued doing what they did best: arouse their adoring fans, and shock the detractors at the same time. Near the start of the year 2003, frontman Simmer and the rest of the musical entourage released the fourth full-length CD, Break the Stars, under Epitaph Records on February 18, and it was their final material to be on said label. The lineup on this record stayed the exact same, although Osmosis' sound and themes experienced a drastic change: instead of the song titles being humorous references to anime/manga, they were now serious and overall dark, not helped by the lyrical content. As for the band's musical style, it was far more brooding and aggressive, with the band going so far as to implement gothic and progressive metal elements all while eliminating the avant-garde influence; to add a bit of insult to injury, the vocalist used mainly shrieking, death grunts, and poignant crooning techniques only (he still sings, although this ability is few and far between), as well as not performing with the keyboard, bass player Beale utilizes plucking, and secondary guitarist Riviera also supplied a tenor saxophone. Break the Stars featured guest appearances by Mudvayne leader Chad Gray and Serj Tankian. Three of the album's songs, "Dead Boys", "Kill Everyone You Love", and "Athena Contradicts", had accompanying music videos, with the second one mentioned deemed "too controversial and graphic to air on MTV or other music-based networks". Produced by Toby Wright and Osmosis. It had twelve tracks in total.

Where's Konata When We Need Her?Edit

  • After the band's overly grim and surprisingly coherent fourth studio album, Break the Stars, the members of Osmosis became anxious: regardless of the fact that, at the time of its release, it received good reviews and was moderately successfully (commercial-wise), fans were disappointed with the material itself, most of which having said that it did not reflect the band's true sound and theme; save for Lorelei, the five-piece group agreed. They took nearly three years off of touring and spent a majority of the time recording their successor, in which Simmer promised that the band would return to the style of music they played on The Dragon Ball's the Most Important Body Part and Kenshiro Hates Company. Osmosis' fifth full-length studio album, Where's Konata When We Need Her?, was released under Century Media Records on Christmas Day of 2007. The overall direction that the band took was, as promised by their frontman, a more avant-garde and varied style likened to their second and third albums; the progressive and gothic influences from Break the Stars did show up. WKW²NH? garnered mixed reviews from critics, who praised Osmosis' return-to-form concept, as well as Simmer's vocal abilities and the production. Criticism was aimed at the incoherency of certain songs (namely "(Don't Fear) The Soul Reaper"), as well as the track names being references to animanga; the fanbase was more forgiving, on the other end of the spectrum. It would be the last album (Ospirational Tune does not count in this case) for Nevadin to provide the drums. "I Can Fly!" and "A World Without Light Would Be Dark" both earned music videos. Produced by Brian Virtue and Osmosis. There were ten tracks in all.