The restlessness of thinking about John Cusack may keep Ione Skye shifting in bed, but Peter Gabriel’s “In Your Eyes” is like the brush that wipes away doubt. The song reveals that true love does exists (in some form) and Mr. Gabriel can show how you are “complete.” How could anyone forget the large, late 80s style boom box John Cusack held above his head and how this specific scene is recreated by “romantic” people trying to mend their unstable, teenage angst-driven relationships?

Gabriel has had a wide and prosperous career, mainly noted for his stint with progressive rock super group Genesis. Like his band mate Phil Colins, Gabriel has done some movie soundtracks. And ,unlike Colins, Gabriel does not collaborate with ’N Sync and does not yell about being a Caucasian man raised by apes in the jungle. Instead, he made landscapes of sound for Rabbit Proof Fence and contributed some tunes to the more recent Pixar movie Wall-E. He has worked with a myriad of different artists from the pope-hating, Irish baldy Sinead O’Connor, the electronically driven Laurie Anderson, to the unpredictable Peter Hammill.

After leaving Genesis, Gabriel began working on his three self-titled albums, his finest being his third (or otherwise known as Melt, as seen on his cover art.) This particular album would have Gabriel honing his influential and distinct sound.

Melt consists of 10 detailed, multi-layered tracks that strike at everyone’s caveman core. The apparent lack of certain traditional rock instruments, like cymbals, gives the album a frightening, empty feeling. Synthesizers and drum machines add chilling electricity, in opposition to the more tribal aspects.

Even though there is a particular coldness to Gabriel’s singing voice and lyrics, there is also a sexy, more passionate side. One of the faster paced and bass heavy tunes, “I Don’t Remember,” has a definite foot tap-ability after the slower, saxophone driven instrumental of “Start.” Gabriel is definitely playing with different moods and styles, like a mad scientist putting together different human parts to form a monster.

Gabriel’s infatuation with tribal vocals and music combined with his experience in progressive rock music and his willingness to experiment with electronic technology come together almost perfectly on his third solo album. With the overwhelming amount of instrumentation and production, it can easily flood the ears. I admit I had to give the album a few tries before it struck, but when it strikes, you begin to look past silly movie romance and begin to get serious.

Tune into Radio K’s Last Year’s Model on Monday February 23 and March 2 at 8 p.m. to hear the consistent babble of hosts Phil and Mark and hear why Peter Gabriel III makes Phil Collins legit.  Well, maybe.