Symphonie Pour Le Jour Ou Bruleront Les Cites (1976, re-recorded in 1980 - Belle Antique, 2008), contenente la pretenziosa sinfonia in tre movimenti del titolo, era un tentativo di trasferire nel rock il primitivismo di Stravinsky. Brigades Speciales (the first movement of the symphony), con le tastiere di Patricia Dallio e la tromba di Jean-Pierre Soarez in bell'evidenza, e` il tour de force e il manifesto apocalittico dell'opera. Masques and Simulacres are the other two movements. The disc also includes Deux Images de la Cite Imbecile: Les Fourmis and Scenes de Carnaval.

Musique Pour L'Odyssee (Cryonic, 1979 - Belle Antique, 2008) tradiva soprattutto le influenze dei Magma, ma filtrate attraverso una sensibilita` piu` classicheggiante. Piece come Bruit Silence Bruit Repos costituivano comunque un enorme passo avanti per il rock progressivo, sia per la complessita` dell'orchestrazione sia per l'impasto ritmico. I membri piu` in vista erano Gerard Hourbette e Thierry Zaboitzeff.

Gli Art Zoyd si orientarono poi verso un sinfonismo lussureggiante con Generations Sans Futur (1980 - Belle Antique, 2008), la cui lunga, austera, espressionista La Ville fonde solfeggi, minimalismi e free jazz, fra echi della "Sacre Du Printemps" e delle fanfare di Zappa, del serialismo di Webern e della "Verklarte Nacht" di Schonberg, della musica da camera di Nyman, dei balli folk e del jazz-rock degli Henry Cow.

L'apice di questo impressionismo elettro-classico e` nel doppio Phase IV (1982 - Belle Antique, 2008), dove ritmi minimali, dissonanze violente e orchestrazione raffinata richiedono un ascolto piu` trascendentale. The most ambitious compositions are Zaboitzeff's Etat D'Urgence (14:38) and Hourbette's La Nuit (13:01).

A partire da Les Espaces Inquietes (1984) il sound si e` avvicinato all'elettronica da salotto e alle atmosfere gotiche, ora visionario in Le Marriage Du Ciel Ed Te L'Enfer, colonna sonora di un balletto, ora religioso nella Berlin del 1987, con una messa cattolica e la danza Epithalame, toccando l'apice tecnologico con Nosferatu.

Andre` Mergenthaler, che aveva suonato il violoncello e il sassofono, si dara` a una variante gotica e medievale dell'elettronica sinfonica con l'austera Musik Fur Einen Engel (Etoile Rouge), composta fra il 1986 e il 1993.

Il trio rimanente, ovvero Hourbette, Dallio e Zaboitzeff, ha pubblicato nel 1993 i due volumi di Marathonerre (Atonal), parte della colonna sonora di un evento multimediale di dodici ore.

Le loro lente e maestose progressioni di accordi, le loro nevrotiche fanfare di fiati e i loro ammiccamenti all'avanguardia avevano continuato il programma rivoluzionario del rock progressivo di Canterbury.

Haxan (Atonal, 1997) e` la colonna sonora composta per l'omonimo film muto.

After a hiatus of four years, Ubique (Inpossible, 2001) announces a new version of Art Zoyd (Gerard Hourbette, Patricia Dallio, Daniel Denis, Mireille Bauer, Emma Stephenson-Poli), one that is orphan of Zaboitzeff and that avails itsel of 13 guitarists, six bassists, six saxophonists, four trumpetists, three trombones, one tuba, etc. The symphonic poem, theoretically inspired by a Philip Dick tale, comprises a continuation of Glissements Progressifs du Plasir (whose first part appeared on Haxan) and Metempsycose. Both mix pompous orchestral passages and a mathematical structure, thereby yielding a hybrid of Franz Zappa without the sense of humour (Activites Prederivees) and Messiaen without the spiritual depth (Compartiment 14/128, Apparitioin De L'Eglise Eternelle, Portuaire, L'Adoration des Mages, Septima du Centaure, La Tentation de Saint-Antoine).

The double CD Metropolis (In-Possible, 2002) includes music for the Fritz Lang film (108 minutes), the ballet music Le Chat de Schroedinger (24 minutes), composed by Patricia Dallio, Gerard Hourbette and Kasper Toeplitz, and the the piece for electronics and chamber ensemble Appars (18 minutes), composed by Kasper Toeplitz.
Metropolis is a suite in 33 movements that leverages Art Zoyd's formidable sense of tragedy. The first movement, a polyrhythmic orgy that mutates into big-band swing, and the third movement, a percussive cacophony scarred by ominous horns, set the pace for the descent into hell, which proceeds via the massive, tragic drones of the fifth movement. The piece is permeated with contrasting feelings of triumph and desolation, as best expressed by the somber fanfare over syncopated patterns of the sixth movement. A slowly morphing chaos of sounds in the 12th movement evokes a sense of death and darkness, which, after briefly toying with life in the fractured jazz piano motif of the 15th movement, returns powerfully to crown the emotional zenith of the suite with the eerie choir of the dead of the 17th movement (La Mort), the dance of the machines drenched in symphonic overtones of the 19th movement and the tribal "triumph of death" of the 22nd movement. The 23rd movement opens with an impressionistic rendition of a starry night. A distant drone approaches and slowly mutates into a mournful horn fanfare over a percussive bacchanal. The 31st movement soars with a frantic, devilish batucada (Maria) an idea that repeats itself till the end. Despite the cinematic constraints, the suite overflows with terrible, visceral emotions. Its only drawback is that it does not present a cohesive, focused vision of those emotions.
Which is precisely what Le Chat de Schroedinger tries to achieve. Percussions are even more relevant here: most of the action is in the rhythms and in the timbres. Melody is virtually inexistent. A notable exception occurs five minutes into the piece, when the quantum chaos of the beginning dissipates and the keyboards intone an hymn-like melody worthy of medieval liturgy.

In december 2004, Art Zoyd performed "Armageddon", "operette pour robots, musiciens et video".

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