For me, this album stands as one of Bowie’s most underrated masterpieces. A few reasons why it remains essential:

• A dark and fascinating concept

Outside tells the story of detective Nathan Adler investigating a serial killer who turns murder into art. Released in the mid-90s, it echoed the era’s obsession with serial killer thrillers (The Silence of the Lambs, Seven, Copycat…), with “Hearts Filthy Lesson” even closing Fincher’s Seven.

• The return of Bowie and Brian Eno

For the first time since the Berlin trilogy (Low, “Heroes”, Lodger), Bowie reunited with Eno. The sessions were filmed, musicians wore cameras, Bowie painted while listening to the music… it was pure experimentation, with no commercial compromise, continuing the creative freedom he had rediscovered with Tin Machine.

• Total sonic freedom

Industrial rock textures, electronic landscapes, improvisations. Bowie was clearly influenced by Nine Inch Nails, later inviting Trent Reznor and his band to join his US tour, leading to some remarkable on-stage collaborations.

• Cinematic echoes

Two years later, David Lynch used “I’m Deranged” in the unforgettable opening of Lost Highway.

• An unfinished mystery

Subtitled Outside 1, the album was meant to have a sequel. The legendary Leon Suites, circulating today on YouTube, reveal an even more experimental side of those sessions.

As time goes on, Outside feels more and more like a visionary piece of work, both disturbing and prophetic.