A brutal, repetitive no-wave and noise-rock assault built on doubled basses and pounding drums, later seen as anticipating industrial and sludge metal.
Slower and more abrasive industrial noise rock about domination, often called one of the darkest records ever and an influence on Godflesh.
A turning point away from pure noise, adding drum machines, grand piano and synths, with Jarboe contributing to the band for the first time.
Companion to Greed, an industrial experimental set adding Jarboe's vocals and layered percussion as the band grows more complex and textured.
A shift toward acoustic instruments and songcraft with flute, cello and strings, carrying the single "New Mind" and often called their key work.
An acoustic, world-tinged folk-rock set produced by Bill Laswell, their only major-label release; "God Damn the Sun" outlived Gira's dislike of it.
Orchestral, acoustic-laced post-punk and neofolk that critics view as the starting point for the band's second era, produced by Gira.
Gothic neofolk that is both beautiful and haunting, recorded without guitarist Norman Westberg and coloured by Jarboe's keyboards and mellotron.
Gothic rock with cleaner production and stronger melodies, including "Killing for Company," inspired by killer Dennis Nilsen, with Gira and Jarboe trading vocals.
A sprawling double album of drone, ambient and musique concrète woven from archival tapes and found sounds, widely hailed as their masterpiece.
The band's return after fourteen years, a spiritual post-rock record heavy with dulcimer and bells, their first without Jarboe since 1986.
A two-hour drone and art-rock epic anchored by a 32-minute title piece and guests Karen O and Jarboe, opening an acclaimed trilogy.
A double album of twisted blues and drone with a 34-minute centerpiece and guest St. Vincent, reaching the band's highest chart positions.
The trilogy's close, streamlining the abstract sound across long pieces like the 25-minute "Cloud of Unknowing" and the near-half-hour title track.
A double album of extended, orchestral-leaning pieces recorded across four studios, with guests including Anna von Hausswolff and members of The Necks.
Woozy, repetitive drone and post-rock turning on existential dread, with one track past forty minutes and guest guitar and synths from Ben Frost.
Described by Gira as the band's last "big sound" record, an expansive post-rock work led by the 19-minute single "I Am a Tower."