During the writing sessions at Headley Grange, Gabriel found himself separated from the rest of the band, which caused some friction. He insisted that having devised the concept he should write the lyrics, leaving the majority of the music in the charge of his bandmates.
At other times, Banks and Hackett suggested lyrics they thought would fit their songs better, "The Lamia" and "Here Comes the Supernatural Anaesthetist" respectively, which Gabriel rebuffed. Further disagreements arose during the writing period when Gabriel accepted an invitation from film producer William Friedkin to write a screenplay; Friedkin had taken a liking to the surreal story by Gabriel that had been printed on the sleeve of Genesis Live Rutherford later admitted that he and Banks were "horribly unsupportive" of Gabriel during this time,  and Gabriel saw this as the beginning of his eventual departure from Genesis.
The band are credited as co-producers, and engineering duties were carried out by David Hutchins. The backing tracks for the entire album were put down in roughly two weeks. Gabriel recorded his vocals at Island Studios, where the album was mixed over a series of shifts as the band struggled to complete the album in time for its November release date.
The album tells the story of Rael, a half- Puerto Rican adolescent living in New York City, who experiences several bizarre situations and characters. He used the location as a tool to make Rael "more real, more extrovert and violent",  choosing to develop a character that is the least likely person to "fall into all this pansy claptrap", and aiming for a story that contrasted between fantasy and character.
The end of the story is not directly clear; Gabriel deliberately left the conclusion ambiguous. When asked about it, Gabriel does not declare that Rael dies, though he compared the ending to the buildup of suspense and drama in a film in which "you never see what's so terrifying because they leave it up in the air without One morning in New York City, Rael is holding a can of spray paint, hating everyone around him. As he walks along Album) street, he sees a dark cloud take the shape of a movie screen and slowly move towards him, finally absorbing him "Fly on a Windshield"seeing an explosion of images of the current day "Broadway Melody of " before he wakes up in a cave and falls asleep once again "Cuckoo Cocoon".
Rael wakes up and finds himself trapped in a cage of stalactites and stalagmites which slowly close in towards him. As he tries to escape, he sees many other people in many other cages, before spotting his brother John outside.
Rael calls to him, but John walks away and the cage suddenly disappears "In the Cage". Rael now finds himself on the floor of a factory and is given a tour of the area by a woman, where he watches people being processed like packages. He spots old members of his New York City gang, and also John with the number "9" stamped on his forehead.
Rael runs past them and exits via a spiral staircase "Carpet Crawlers". At the top, he enters a chamber with 32 doors, surrounded by people and unable to concentrate "The Chamber of 32 Doors". He finds a blind woman who leads him out of the chamber "Lilywhite Lilith" and into another cave "The Waiting Room"where he becomes trapped by falling rocks "Anyway". Rael ends up in a pool with three Lamiabeautiful snake-like creatures, and has sex with them, but they die after drinking some of his blood "The Lamia".
He leaves the pool in a boat "Silent Sorrow in Empty Boats"and finds himself in a group of Slippermen, distorted, grotesque men who have all had the same experience with the Lamias, and finds that he has become one of them "The Arrival".
Rael finds John among the Slippermen, who reveals that the only way to become human again is to visit Doktor Dyper and be castrated "A Visit to the Doktor". Both are castrated and keep their removed penises in containers around their necks.
Rael's container is taken by a raven and he chases after it, leaving John behind "The Raven". The raven drops the container in a ravine and into a rushing underground river "Ravine".
LP Rael walks alongside it, he sees a window in the bank above his head which reveals his home amidst the streets "The Light Dies Down on Broadway". Faced with the option of returning home, he sees John in a river below him, struggling to stay afloat. Despite being deserted twice by John, Rael dives in to save him and the gateway to New York vanishes "Riding the Scree". Rael rescues John and drags his body to the bank of the river and turns him over to look at his face, only to see his own face instead "In the Rapids".
His consciousness then drifts between both bodies, LP he sees the surrounding scenery melting away into a haze. Both bodies dissolve, and Rael's spirit becomes one with everything around him " it.
Much of the music developed through band improvisations and jams, often after setting a single idea, which Banks found particularly enjoyable. Banks recalled writing "The Lamb Lies Down on Broadway" with Gabriel which turned out to be the last track they developed which was "a pretty good song to end on". Banks said: "Instantly the rest of us would conjure up that particular mood.
Collins said that "Steve [Hackett] played these dark chords, then Peter [Gabriel] blows into his oboe reeds, then there was a loud clap of thunder and we really thought we were entering another world or something. It was moments like that when we were still very much a unified five-piece". The band put together a chord sequence  "in D, E minor and F-sharp minor with a roll from the drums flowing through it". Gabriel asked him to add synthesized effects on his vocals on several tracks, including "The Grand Parade of Lifeless Packaging",  which on the album's credits are dubbed "Enossification".
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