Charlie Peacock is the Todd Rundgren of Christian pop — he’s a gifted renaissance man, making his mark since the mid-‘80s as an artist, songwriter, producer and record label founder. Strangelanguage (1996) is a particularly eclectic release, tapping into Peacock’s affection for psychedelic rock, world beat rhythms and contemporary electronica. The brew he comes up with is a heady one, particularly on steamily atmospheric tunes like the title track and “Insult Like The Truth.” There’s a more sweetly melodic side to his music as well, expressed in “Lady Soul (Aretha In The A.M.)” and “Tumble Down.” Peacock’s vocals show a light jazz touch, with a hint of bemused detachment. He isn’t your typical Christian music singer — though his lyrics, most notably on “The Harvest At The End Of The World” and “Liquid Days,” reflect a fondness for Biblical imagery. Much of Peacock’s work has sought to combine a God-centered viewpoint with a connoisseur’s appreciation of pop music styles. Strangelanguage is a kaleidoscopic sampling of his idiosyncratic sonic vision.