Strange Inside

Artist: Strange Inside
P: 1996
I was, and still am, very taken with Strange Inside's first album 'Different Colours'. I liked the melodic content, the use of sequences and (unusually for me) the fine use of electric guitar. Gerd Lubos is most certainly a gifted musician and it shines through on nearly all his pieces. Fans of Paul Ward I'm sure will like his prog tinged output, and I greeted the arrival of this latest work with some excitement. The title track opens in typical Strange Inside fashion. Laid back (but in no way pedestrian) rhythmics form the backdrop for melodic synth riffs and eventually some impressive guitar work. 'Talk to the Whales' (the longest track at 12:22) follows and this really is another tremendous offering. Yes, whalesong has seen more use than Peter Schmeical's gloves, but when it's merged into a track of such stunning melodic content as this it just can't fail. Gorgeous swirling synth pads interplay with complex sequenced arrangements. Supplementing this is guitar work straight from the top draw. Never overpowering, never dull, just sheer class. Melodically enchanting, acoustically fascinating, and overall worth the price of the CD for this track alone. 'Tears of Hope' features a suitably passionate guitar theme backed by harpsichord synth and piano. 'Japanese Spring' opens with a flutey riff reminiscent of Waveform's 'Making Waves' then goes onto develop into a very stylish piece, with a strong backbeat and percussion driving string synths, guitar, and repetitions of the flutey motif. 'Across the Rainbow' serves up yet more lashings of fine electric guitar work. The theme is very catchy and is soon ingrained on the mind. Formula drum/harpsichord backing is present but it's the soaring guitar riffs which very much take centre stage. I feel I should start to get rather tired of the same sort of styles and sounds being served up, but somehow at this stage it still remains fresh and captivating. 'Raindance' just keeps the guitar riffs coming. Tribal type rhythms and sequences keep the piece flowing, and again it's hard not to enjoy infectious nature of the music. "Steady as she goes" with 'Dying Secrets', and yes you could argue that the formula doesn't change that much throughout the tracks, and I'd agree that variety is not this album's strong point. Gerd does tend to over use the harpsichord synth voice and if you don't like electric guitar then steer clear, but really these are minor gripes at what is undoubtedly a fine album. The trio of tracks which close would provide more ammunition for the person who would like to accuse this of being a bit "samey" but hey, at least you know what you're getting here. Track after track of contemporary/prog oriented EM tackled with the expertise of a master. Easy to get on with, genuinely strong melodies aplenty, and if nothing else it does prove that the music doesn't always need to be weird, difficult and bereft of melody to get my thumbs up! (GG)

Here the last copy!