OSIFC was founded in the spring of 2001 under the front bus stop of James E. Taylor High School in Katy, Texas where the four members produced their first beats using their hands and feet. Since then the band has made significant progress and is well known by the local area and by various fans over the web. The sounds of OSIFC are constantly changing and will never properly fit into a prescribed genre, although when asked, the band typically refers to themselves as a progressive electronica group due to the synthesized nature of the music and the wide spectrum of musical theory that is commonly employed. Aside from creating music, the members of OSIFC have also participated in many other artistic endeavors including writing and filming the FNL comedy shorts, shooting and acting in the independent film project "The Man Who Cried Schnitzel", and brainstorming the story lines for at least three small video games. Furthermore, all the aforementioned creative ventures have occurred concurrently with the members' quests to attain graduate and doctor level degrees and enter advanced fields of engineering and medicine. While these other matters have grown significantly more time consuming, there currently appears to be no end in sight for OSIFC.

After seven years, seven albums, and more Propel and Papa John's than we care to quantify, we're still alive and kickin'.

On a cold, rainy day in mid spring, four freshman high school students stood under the awning of the James E. Taylor High School bus stop waiting for their rides home from the day's band event. In their boredom, they began stomping and clapping to occupy the time. Impressed with the beats they were hearing, they were inspired to carry this newfound pastime further: they decided to start a band. In the car ride home, Andrew, Robert, and Daniel conceived the first ideas for the band and christened it O.S.I.F.C., a mysterious initialism which stands for the entire locus of five word phrases to which it could possibly apply.

The band set up shop in Andrew's room, using his "modern" self-built computer, 2.1 Boston Acoustics speaker system, and stock web microphone as equipment. The initial software was limited to MS sound recorder and various freeware programs found on the web. Many of the original recordings focused around percussive pieces involving partially filled coke bottles and assorted household items. When a shareware drum sequencer was downloaded, the band created its first synthesized beats to a recording of Robert chanting "who's your daddy, where's your daddy, what's your daddy, biatch". None of the members were ever very satisfied with these recordings, and most were either discarded immediately after the recording session or were moved to some obscure directory on Andrew's computer, never to be heard from again.

A monumental breakthrough occurred when a mountain climbing friend of Andrew's recommended a piece of Dutch software known at the time as Fruity Loops. Impressed with the results of Andrew's initial tinkerings, the band gathered one night and wrote the beginnings of what would become their first released song, AgNO3. Unlike previous song writing attempts, the Fruity Loops projects were entirely synthesized, making them much easier to edit and develop. It also allowed members to individually create melodies and riffs and bring them to the rest of the band for use in songs. At this point in time, all four members of the band were heavily involved in all aspects of song writing, and most pieces were completed during sleep overs at Andrew's house with the whole band in attendance. At certain times everyone would be at the computer throwing out ideas to whomever was at the helm, and at other times three members would proceed downstairs to watch a movie, leaving one alone upstairs to hack out the rest of a song. This one would most often be Robert.

OSIFC's first public performance was a Halloween skit for the JET Band during the fall of 2001. Dressed in the appropriate styles of 1973, the group performed a routine to Kool & the Gang's "Jungle Boogie" under the name "The Real Jerome's". While they did not top the entire competition, the group won an award for it, and the stage was set for future performances as a group.

By winter, OSIFC had written 14 full-length songs including a rendition of Pachelbel's Canon, a medley of Christmas songs, and a remix of a song from the previous year's marching band season. The band started the process of combining all the pieces into the first album. Over several meetings in the hallways of Taylor High School and a dinner or two at Bennigans, the band contrived the layout for the album and chose the name "Humanity" to represent the vast range of stories and styles present in the songs. Two more songs, After Dark and Freedom, were written in the beginning of 2002 and would replace the songs Four Scottish Trances and Poseidon on the album. Four Scottish Trances would become the impetus for OSIFC's first Taylor Band album, and Poseidon would never be released. After several weeks of marketing the album throughout the school and producing the albums using an old desk jet printer and a 16x cd-r burner, Humanity was finally released. By the end of the selling campaign, over 40 copies were sold. OSIFC kept the earnings in a small plastic container and reinvested almost all of it into performance equipment and more software.

Over the course of the next two and half years, OSIFC would write more than fifty songs and release 4 albums, beginning with the first Taylor Band album. After a JET Band rehearsal at school one day, Robert demo-ed Four Scottish Trances in front of the entire ensemble and received very positive feedback. Many were quite impressed with the idea of remixing marching band repertoire, so OSIFC decided to expand on the concept and make an entire album devoted to remixing various marching band selections. Styles and instruments developed during the creation of Humanity were employed on the melodies of several pieces, including the band's warm-up routine and a medley of the band's favorite stands tunes. As a gag, OSIFC also recorded two voice tracks, one satirizing the announcers at marching shows, and the other Jerry, the marching band's drill designer that year. As a bonus feature, a recording of the drumline's cadences was also included at the end of the CD. During the writing of these tracks OSIFC developed its long standing ritual of writing music into odd hours of the morning at Andrew's house and then taking a stroll out along the bayou behind the neighborhood. Many local residents (including Andrew's parents) considered this to be suspicious behavior, but typically only deep conversations and creative exchange occurred during these outings. Upon returning, edits and additions would be made to the working track, and then the band would sleep on it until morning (where they were often horrified by what they heard).

Taylor Band was a great success among the JET Band students, and it earned OSIFC much needed publicity. Work had already begun on tracks for the next album, and the group was excited about the arrival of their new software, most notably Sonic Foundry's Acid Pro 3, and new microphone. The members were meeting and composing so frequently after school and on weekends that the band and many of its fans coined the term "osifcing" to describe the phenomenon. In order to give the band some direction, Andrew indited a list of album names for the next three albums and created the idea of combining the songs for the next album into a common theme to create a concept album. The next albums were to be titled as follows: Never Stop Exploding, Naked Handgrenade, and Buck Nasty and The Meatgetables. As the theme of nuclear devastation and rebuilding developed for the next album, the title was changed to Fallout, and Never Stop Exploding became the title of one of the tracks. One evening Eric summed the lengths of the tracks and realized that the songs would never fit onto one CD, so instead of cutting tracks, the band decided to create its first and only double CD. When it came time to produce Fallout, with the agony of printing full length booklets for Humanity still fresh in their heads, and the cost of producing this album already raised due to the double CD cases and two discs per product, the members decided to limit Fallout's booklet to two pages. Every OSIFC album henceforth would also carry this trait. Instead of buying the small 20 CD stacks of CD-R's from Best Buy, this time OSIFC decided to buy in bulk from the internet. While the discs looked much better now that a Memorex logo could not be seen through the label, they proved to be much more ornery to burn, and many failures began to accumulate in Andrew's room. To dispose of these discs, most were brought to summer marching band practices in August of 2002 and used as frisbees. Fallout was finally released in mid-autumn of 2002 and sold very well. The track count came out to 19, including an introduction narrated by Robert, an Acid mix of daily sounds and noises, and an abundance of noticeably louder, stronger, and darker trance songs.

To help debut Fallout, OSIFC, in conjunction with a close friend Kevin Foytik, arranged their Junior year Halloween skit to feature several of the album's songs. Using a small boombox, a set of blacklights, and a fog generator, the group spent hours laboring away at the choreography in the heat of Andrew's garage. The garage had to be opened several times to ventilate, and a replacement boombox was brought in after the first one came close to croaking when the volume was set too high. Fortunately, the time and effort paid off. "DJ Gato and the Pope's Army" made for one of the most impressive performances OSIFC ever put on, and received the highest award in the competition.

The spring and summer of 2003 offered time for OSIFC to write and produce its second Taylor Band album. The JET Band's previous two marching shows were by no means bad, but all four members of OSIFC agreed that the 2001 show, "Medusa" by Key Poulan, was by far their favorite yet. It was therefore no surprise when Robert and Andrew wasted no time in creating an R&B remix of the show's third movement, Serpents, and dubbing it The Medusa Low Rider's Remix. The song had a catchy feel to it and was also very entertaining to marchers who had heard and played the original so many times. Assured by the acceptance of the demo, OSIFC went on to create remixes of the other three movements, using a ___ style for the first movement, a tango for the second, and electronica for the fourth. Along with writing mixes of the school's alma mater and fight song to fill the album, OSIFC also held interviews with the three JET Band directors, recording them saying characteristic phrases and "-isms" to be used in the Band Director Rap. Ten tracks were eventually written for the album, thus paralleling the ten tracks for the original Taylor Band album, and the title Taylor Band 2: Year of Medusa was used. To cut down on production costs and to speed up the process, OSIFC made an executive decision to release Medusa in paper sleeves instead of plastic jewel cases. No one made any objections to this, and the album's success matched that of its predecessor. It stands out for hosting the widest variety of styles of any OSIFC album, and it also holds the award for most rapid production and release. This latter quality was mostly out of necessity so OSIFC could deliver the album to graduating seniors before they left for college at the end of the summer.

After Fallout, almost exactly a year would pass before OSIFC's next release, Naked Handgrenade, hit the streets. During this period, OSIFC would begin to use more of its time together for social purposes instead of strictly songwriting. The impact of this paradigm shift was profound. With Human Progression being the only exception, all songs after Fallout would be written and edited solely by Robert and Eric. While Andrew and Daniel would take active part in critiquing and provide much needed inspiration, the responsibility of developing new songs would rest entirely with the two composers. Furthermore, fewer of the songs would be produced by combining content from both composers. Nine out of the fourteen tracks on NHG would be completely written by one composer. While this difference in methodology was very clear and, at certain times, alarming to the members, interestingly enough, OSIFC's style of music did not experience a drastic change. Aside from the music, one of the most unique features of NHG was the album art. Album art on the previous albums was comprised mostly of public pictures and stock images. The band used dramatic editing and morphing to make the content unique, but the outcome was never entirely original. For NHG, OSIFC employed the use of Andrew's antique Kodak digital camera. With a certain scene in mind for the cover involving an actual disarmed handgrenade, the band jumped in the back of a friend Carlo Malacon's jeep and set off into the Katy prairie land to find the optimal backdrop. After driving around for almost an hour, the only pictures OSIFC had managed to acquire were of a hang glider and of Eric being bitten by fire ants. On the journey back home however, the group haphazardly noticed a small abandoned road heading west into the sunset. Upon turning around to investigate, they discovered that it was exactly what they'd been looking for. Using the handgrenade and one of Carlo's spare tires, the group captured its first original album art. Many other shots of local scenery and establishments were taken in the days to follow, most winding up on the album's collage. Using CafePress for the first time to manufacture the album, Naked Handgrenade was released in the late autumn of 2003. It was to be the band's final release before the end of high school.

Most of the music for OSIFC's fourth album was written in the spring of 2004 as the members' senior year in high school wound to a close. Although the album was originally deemed to be titled Buck Nasty & the Meagetables, the content held no relation to neither Buck Nasty nor any Meagetables, and thus the title was discarded. For a short time the album was referred to as "Underground" after one of the tracks, but eventually a more fitting name, "Summer Nights", was developed based on the peaceful, deep sounds in several of the songs. One of the songs, Ideology, was remixed and played at a banquet that OSIFC DJed shortly preceding graduation and was well received. As the album neared completion, the title was once again changed to Infinity to represent the intangible themes behind many of the songs. During the summer of 2004, the band put a lot of effort into collecting the needed pictures for artwork and finishing the partially written tracks, but as the members headed off to college, only 13 tracks had been written. Not wanting to disrupt the tradition, they decided to wait to release the album until a 14th was composed.

Once and Forever was written in September, completing the puzzle. The album artwork for Infinity continued the band's trend of using original photographs, and for the first time included images from locations outside of Katy. OSIFC chose to use CafePress again to manufacture the album, resulting in another high quality product, this time accompanied by much more advanced mastering and production techniques to improve the quality of the album's music as well. Despite being the most mature and polished production of OSIFC at the time, the distance between members and fans slowed the album's sales and made it difficult to deliver. Fortunately for Infinity, it would be another three years before OSIFC would even begin production on another album, leaving ample time for Infinities to be sold here and there to both new acquaintances and old hometown fans.

Compared to the initial three years of OSIFC, these next three years would be rather slow and uneventful, but the band held together and managed to satisfy their creative needs in many of the independent projects the members undertook. During the summer after the members' freshman year, Robert and Eric would compose several short pieces to be featured in The Man Who Cried Schnitzel, a short film featuring Daniel, Robert, and Eric. Eric would also serve as sound engineer for the film, and both Eric and Robert devoted significant amounts of time to the film's production. These pieces were short and simple, but fit well in the context of the film and forced the composers to play with a few new styles. During their first two years at college, the members would individually showcase popular OSIFC songs at parties and in music classes. New songs would also be written for plays, skits, and projects. Occasionally these endeavors would spark the will to write a viable OSIFC track, but this happened very intermittently, and most of these tracks would be set aside and neglected until the members' junior year.

As junior year (2006-2007) rolled around, OSIFC slowly realized that the collection of possible tracks was nearing the appropriate quantity for a new album. Over Winter break the members compiled an initial track listing and started tossing around ideas for an album title. They eventually settled on the first idea they developed, According to Prophecy, which captured the theme of an "unseen, driving power" found in many of the album's songs without being overtly religious or overly illustrative. A much tougher decision had to be made regarding the final track list for the disc: the album consisted of eleven songs, but there was only enough disc space for one more full length song. Instead of writing three short fillers just to achieve the traditional fourteen songs, the band broke from tradition and only wrote one final song for the disc. For the first time since Fallout, Robert and Eric sat down in Robert's game room over a freshly ordered pizza and jointly wrote the final track, Temple's Horizon, in the final days of the break. The album art was completed during the spring of 2007, but a glitch in CafePress's audio CD template prevented OSIFC from creating any discs. The glitch remains to this day, and the band, not willing to revert to in house manufacturing, is still working on finding an alternative means of producing the album.

All four members of OSIFC graduated from their respective undergraduate programs after the spring of 2008 and immediately began graduate studies in the fall of 2008. To this day, Eric and Robert continue to study structural engineering, and Andrew and Daniel continue to study medicine.