Out of the Grey

Item: (See Inside)
Author: Jeanne Ivy

(See Inside)

(1997)

Reviewed by Jeanne Ivy

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Label Sparrow RecordsThe LighthouseJune 1997

alternative rock art rock pop rock

In the liner notes for Out of the Grey's fifth project, (See Inside), Scott and Christine Denté express their hopes that listeners will "stop, look, and See Inside." And indeed, one has to do so when listening to the album's raw guitars and probing lyrics. This album is not one that can be turned on for some light Christian background music; instead its songs urge listeners to pay attention.

The project's musical sound is quite different from the Dentés' last two projects, Diamond Days and Gravity. The free-form, open, and edgy guitars offer a sound that's a bit like "ordered chaos." It's almost as if Scott had spilled music onto a page and then arranged it. The effect not only shows some ingenuity and greater maturity, but it also mirrors the freely poetic lyrics, such as in the songs, "Winter Sun," "That's Where I Live," and "My God You Are." However, in the songs "Disappear" and "No Leaving," the guitars overpower the lyrics at times, which may cause listeners to tune in even more intently to catch the message.

The lyrics in this project are stronger than those of any of the previous albums-which is saying a lot, considering the talent the Dentés have for writing. All of the songs are introspective pieces, with some bringing forth the clarity, as in "Come Clean:"

I tire of trying to translate What I am to what should be No the inside of this stained glass cup Never really does seem to come clean

At other times, such as in "Winter Sun," there's a sense of deeper meaning to be thought about:

Burning inside of me, a flame so weak I need a deeper touch Oh winter sun To know is not enough, oh winter sun

Christine delivers the lyrics in her usual "ethereal voice," although she too has musically matured. She brings a deeper sound to many of the songs, which adds to their sense of urgency. Scott also does his part, and he does it well. He sings the song he wrote, "That's Where I Live," and it's a performance far better than his solo performance on "Bigger Than Life" (from The Shape Of Grace).

The only real weaknesses in the album may be found in "Constant" and "Joy." The former lacks the spontaneity the other songs offer, despite the solid message it's trying to convey. "Joy," on the other hand, could be grounded a tad. The music seems a bit random, and the piano comes across in an odd and unorganized manner.

These quibbles aside, the project is the most thought-provoking and mature offering from this dynamic duo. Many listeners will be touched by the album; they may even be inspired and changed.