The protagonist in the film American Psycho
called Invisible Touch
Genesis' undisputed masterpiece - that (and possibly the fact that he killed people) was the reason he was a public menace.
I can at least say I like the mega 80's pop hit “Land of Confusion”. While I'm not a huge fan of the very blocky drum-machine / bass (a sound many a pop band utilized post-1985), it does have an extraordinarily catchy melody, and Phil Collins sings it in a convincingly boisterous way. Tony Banks' keyboards also play excellent textures at just the right times, and Michael Rutherford comes in with a few gruff electric guitar licks to help give it a bit of drive. Yes indeed, that's a good song.
Unfortunately, everything else is crap.
Well, maybe not *crap* per se, but er ... disappointing. What happened? Didn't I just state in my review of 1983's Genesis
that it was not only one of the best albums of their career, but a landmark pop album for the entire godforsaken 80's? Invisible Touch
isn't even close to that.
The album's opening number is the title track, and it makes for an OK listen as long as you've already committed to sitting through it. The melody is hooky, although I don't care much for the stilted way Collins sings the chorus ... She seems to have! An invisible touch, yeah! She reaches in! And! Grabs! Right! Hold! Of your Heart!
On the bright side, these guys continue to showcase their abilities for creating more or less interesting textures, but unfortunately such practices aren't consistent over the whole album.
You can hear proof that Genesis were losing their instrumental
touch with the closing number “The Brazilian”, which annoys me more than it fascinates me. The drum machines flutter about in a cluttery fashion, and I couldn't be less interested in the dull melodic theme Banks comes up with his synthesizer. It lacks the inspiration of the previous album.
by Reviewer: Don Ignacio
(blogging at Don Ignacio's Album Reviews