Sightings

Michigan Haters (Psych-O-Path, 2002) expanded the idea and delivered longer spasmodic jams, topped by the eight-minute I Feel Like a Porsche. The music was no less bombastic, just bolder. This time the "music" resembled the agonizing fury of Birthday Party rather than the psychotic agony of the no wave.

The music largely lost its "punk" attributes and became more cerebral than furious on Absolutes (Load, 2003). Its aesthetic was one of fragmenting and defragmenting, of swinging between primordial noise and futuristic noise.
Tracks: White Keys, Infinity of Stops, Anna Mae Wong, Bishops, Canadian Money, Right Side of the Hall, E.E., Reduction,

Gardens of War (Smackshire, 2004) was a collaboration with vocalist Tom Smith of To Live And Shave In L.A.

Arrived In Gold (Load, 2004) manipulated the sounds of the instruments and set the resulting magma to a robotic beat. It was a major departure from their original take on the "no wave" of the 1970s. It was like taking musique concrete to a disco. The apocalypse peaked with closer Arrived In Gold Arrived in Smoke.
Tracks: One out of Ten, Sugar Sediment, Odds On, Internal Compass, Switching to Judgement, Dudes, The Last Seed, Arrived in Gold, Arrived in Smoke,

End Times (Fusetron, 2006) marked a return to the frenzied punkish noise of their debut.
Tracks: Cotton Sweaters, Failure of Words, My Due Potion, The Brains you were Born With, Carry On, Bile Duct, Only Below, All the Scams, Slow Boat.

Through The Panama (Load, 2007) is another confused attempt at "tuning" their extreme form of noise, at producing "songs" out of the debris.
Tracks: A Rest, Debt Depths, Cloven Hoof, The Electrician (Scott Walker), This Most Real of Hells, Perforated, Certificate of No Effect, Through the Panama, Degraded Hours.

I Sightings di New York (Richard Hoffman al basso, Jonathan Lockie alla batteria, Mark Morgan alla chitarra e alla voce) architettano una musica per power-trio estremamente isterica e cacofonica con l’album Sightings (Load, 2002), una scazzottata industrial-hardcore super distorta che evoca i Boredoms accoppiati coi Mars o i Teenage Jesus. Tracce: Two Thoughts, Don West, Who's Counting, Cuckoo, Hate Hate, Pitch of My Own Voice, Leather Pants Couple, 45 on My Back, Weirdest Driver, Making the Menu, Waiting at the Steakhouse.

Michigan Haters (Psych-O-Path, 2002) allarga l’orizzonte e presenta jam spasmodiche più lunghe, in cima alle quali torreggia I Feel Like A Porche. La musica non è meno ampollosa, semplicemente più spavalda. Stavolta somiglia più alla furia agonizzante dei Birthday Party, piuttosto che all’agonia psicotica della no wave.

Su Absolutes (Load, 2003) la musica perde gran parte degli attributi "punk" e diventa più cerebrale che furiosa. L’estetica si basa sulla frammentazione e la deframmentazione, sull’oscillazione fra rumore primordiale e rumore futuristico. Tracce: White Keys, Infinity of Stops, Anna Mae Wong, Bishops, Canadian Money, Right Side of the Hall, E.E., Reduction,

Gardens of War (Smackshire, 2004) è una collaborazione con il cantante Tom Smith dei To Live And Shave In L.A.

Arrived In Gold (Load, 2004) manipola i suoni degli strumenti ed inquadra il magma risultante in un beat robotico. E’ un vero e proprio allontanamento dalla loro personale rilettura della no wave dei Settanta. E’ come portare la musica concreta in discoteca. L’Apocalisse culmina con la conclusiva Arrived In Gold Arrived in Smoke. Tracce: One out of Ten, Sugar Sediment, Odds On, Internal Compass, Switching to Judgement, Dudes, The Last Seed, Arrived in Gold, Arrived in Smoke,

End Times (Fusetron, 2006) segna un ritorno al frenetico sound punk del debutto.

Through The Panama (Load, 2007) Tracce: A Rest, Debt Depths, Cloven Hoof, The Electrician, This Most Real of Hells, Perforated, Certificate of No Effect, Through the Panama, Degraded Hours.