Peter Gabriel's second self-titled album trades Genesis's theatrical grandeur for something darker and more tactile. Robert Fripp's jagged guitars and Tony Levin's fretless bass create an atmosphere of controlled unease, whilst Gabriel's voice navigates between vulnerability and menace.

The production, pointing towards the gated reverb experiments that would define his eighties work, makes even the poppier moments like D.I.Y. feel slightly unsettled. It's art rock that doesn't announce itself, preferring to burrow under the skin rather than overwhelm from the stage.