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Gabriel's final SelfTitledAlbum acts as both a continuation and antithesis of ''Music/{{Melt}}'' from two years prior, diving further into its predecessor's west African-influenced sound and incorporating elements of {{industrial}} music while simultaneously orienting things in a less aggressive, more atmospheric direction. The album also sees Gabriel make heavier use of digital technology compared to the brief flirting with it on ''Melt'', featuring extensive use of drum machines and the Fairlight CMI and being one of the earliest albums by a major artist to be recorded and mixed entirely with digital equipment[[note]]it wasn't ''the'' first, having been beaten to the punch by Ry Cooder's ''Bop Til You Drop'' in 1979, and digitally recorded and mixed releases were being made by classical and jazz artists since 1971, but fully digital albums by popular music artists were still enough of a rarity by 1982 for Gabriel to be ''one of'' the first to put one out[[/note]]. Playback would still be analog for most people, as the UsefulNotes/CompactDisc format would be only be introduced in Japan that year and in North America and Europe the next year. However, when it ''did'' arrive on CD[[note]]sources vary as to whether its first CD release was in 1983 or October 1984[[/note]], it became the first popular music release to be entirely digital, from recording to mixing/editing to playback, a fact that was touted on the front cover of the U.S. CD (all other [=CDs=] at the time were derived from analog tapes).
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Gabriel's final SelfTitledAlbum acts as both a continuation and antithesis of ''Music/{{Melt}}'' from two years prior, diving further into its predecessor's west African-influenced sound and incorporating elements of {{industrial}} music while simultaneously orienting things in a less aggressive, more atmospheric direction. The album also sees Gabriel make heavier use of digital technology compared to the brief flirting with it on ''Melt'', featuring extensive use of drum machines and the Fairlight CMI and being one of the earliest albums by a major artist to be recorded and mixed entirely with digital equipment[[note]]it wasn't ''the'' first, having been beaten to the punch by Ry Cooder's ''Bop Til You Drop'' in 1979, and digitally recorded and mixed releases were being made by classical and jazz artists since 1971, but fully digital albums by popular music artists were still enough of a rarity by 1982 for Gabriel to be ''one of'' the first to put one out[[/note]]. Playback would still be analog for most people, as the UsefulNotes/CompactDisc Platform/CompactDisc format would be only be introduced in Japan that year and in North America and Europe the next year. However, when it ''did'' arrive on CD[[note]]sources vary as to whether its first CD release was in 1983 or October 1984[[/note]], it became the first popular music release to be entirely digital, from recording to mixing/editing to playback, a fact that was touted on the front cover of the U.S. CD (all other [=CDs=] at the time were derived from analog tapes).
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* DeliberateVHSQuality: An odd example in that it entails a still image; the photos included throughout the album art, including the front and back covers, are stills from an experimental videotape shot by Malcolm Poynter, a sculptor whose work Gabriel admired.
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* DeliberateVHSQuality: An odd example in that it entails a still image; the photos included throughout the album art, including the front and back covers, are stills from an experimental videotape shot by Malcolm Poynter, a sculptor {{sculptor|s}} whose work Gabriel admired.
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* TruckDriversGearChange: Inverted in "San Jacinto", as the final verse is sung much softer than the rest.
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->''We will walk on the land.\\
We will breathe of the air.\\
We will drink from the stream.\\
We will live. Hold the line.\\
Hold the line.\\
Hold the line.''
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* DigitalDestruction: Later Creator/GeffenRecords [=CDs=] prior to the 2002 remaster are sourced from analog safety tapes, resulting in a more muffled sound compared to both earlier "target" [=CDs=] and Creator/VirginRecords' discs for European markets.
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* DigitalDestruction: Later Creator/GeffenRecords [=CDs=] prior to the 2002 remaster are sourced from analog safety tapes, resulting in a more muffled sound compared to both Geffen's earlier "target" [=CDs=] and Creator/VirginRecords' discs for European markets.
