Vulvaland (Too Pure, 1994) was still insecure and tentative, but already capable of elaborating post-psychedelic trance in the kitsch-retro sound of the nine-minute robotic ballet Frosch (also reminiscent of the looping ethno-funky-beats of Talking Heads' Fear Of Music). The ethnic element is also prevalent in the Afro-Indian polyrhythms of Uah. But the nebula of Chagrin shifts the emphasis from the rhythm to the surrounding electronics, from hedonism to ambience.
Future Dub is a seven-minute hallucination that blends the ethnic/rhythmic element and the atmospheric/ambient element. The ominous and subliminal atmospheres of Katang, an eleven-minute magma of wadded beats and languid tones, redefines ambience for the ambient-house generation.

Abandoning the tragic excesses of their previous album, smoothing the rhythms, shortening the tracks, and carefully arranging the non-electronic instruments, Iaora Tahiti (Too Pure, 1995) established a new, highly sophisticated standard of layering—a slippery collage of dub, jungle, hip hop, ethnic, ambient, and cosmic fragments.
Melody reemerges as a protagonist, albeit always mixed “in the background,” softly, like a footnote, in the feverish (somewhat Brazilian) orgy of Saturday Night Worldcup Fieber, and then continues to circulate throughout the album.
Mouse On Mars achieve a daring synthesis of song-form experiments that vertically traverse the history of rock: the swung drum’n’bass and space-funk of Kanu carry traces of Gong; the slightly out-of-tune music box of Papa Antoine harks back to Todd Rundgren’s records; the near-industrial dissonances and grotesque reggae step of Schunkel are kin to Pere Ubu’s “modern dance”; the futuristic mini-symphony of Schlecktron distorts the cosmic frescoes of Klaus Schulze. These are not musical compositions—they are metaphors for musical composition.
The music is “literal” only in the swampy cadences of Stereomission and in the vertiginous drum’n’bass of Bib, which nevertheless have the timbral brilliance of chamber music.
Each track hides a dense undergrowth of electronic noises. The solutions chosen to weave intricate webs of rhythm are varied and unpredictable.

Autoditacker (Thrill Jockey, 1997), a collection of twelve mid-length tracks, is primarily an act of vanity. Werner and Toma have nothing new to add to the previous album, yet they manage to transform that nothingness into a spectacular circus. Their techno is often (Twift Shoeblade, Sui Shop) playful and whimsical, eccentric to the point of parody, propelled by light polyrhythms and comical electronic counterpoints. The melodies are deconstructed in a cubist manner. Schnick Schnack Meltmade, perhaps the catchiest track, is shredded in this laboratory populated by androids and clockwork devices (the digital hell evokes Black Dog). And while not all the gags succeed in amusing, the sly reggae of Scat and the frenzied tip-tap of Tux & Damask touch on a form of electronic cabaret (something Todd Rundgren was doing twenty years earlier).
The serious side of their research is only an appendix, rarely extending beyond a whimsical tribute to the futurism of Kraftwerk and Can (Tamagnocchi, Sehnsud). Given the already assured quality of the mix—which many producers could at least match—there is little left to truly marvel at.

The EP Cache Coer Naif (Thrill Jockey, 1997), with the help of Laetitia Sadier and Mary Hansen of Stereolab, attempts to sell their parlor-room techno to a wider audience (especially the title track and Lazergum).

A more abstract style characterizes the seven Instrumentals (Sonig, 1998 – Thrill Jockey, 2000). Pegel Gesetzt and Chromatic float on the edge of ambient music, while Rampatroullie and 2001 are two of their most austere exercises in cubist melodicism.

Glam (Tokuma, 1998 – Thrill Jockey, 2003) is the soundtrack for an imaginary film and represents an even more experimental work (Port Dusk).

Werner was also half of Microstoria (the other half being Markus Popp of Oval), a monicker under which Werner devotes himself to electronic experiments.

Werner is also responsible for the ever more abstract albums Uni Umit (Sonig, 1997) and Didot (Eat Raw, 1998), credited to Lithops, that were followed by the two ambient suites of the EP Sequenced Twinset (Sonig, 1999).

Hot on the heel of Pickly Dead Rizzoms (Sonig, 1999), an EP that included their most straightforward dances track yet (Stuffed Funk, Shamp Hare Rama), Mars On Mouse's album Niun Niggung (Sonig, 1999 - Thrill Jockey, 2000) marked a turn towards a poppier and lighter style, while, in reality, still grounded in harsh dissonance. A dadaistic sense of humour seems to permeate the proceedings. The guitar and distortion sonata of Download Sofist ends with a pseudo-jazz fanfare. The dissonant bubbling electronics and industrial beats of Yippie paint a colorful vignette of robotic life. Albion Rose indulges in a melancholy horn-driven melody, overflowing with noisy detours (a` la Frank Zappa's orchestral music).
The album clearly returned to a more bodily form of music: the funky ballet of Pinwheel Herman, the polyrhythmic jungle of Super Sonig Fadeout, the pounding semi-melodic techno music of Diskdusk, the exuberant hiccuping fibrillation of Gogonal, and, best of all, the gargantuan distorted industrial music of Distroia. However, it also continues (albeit on a much smaller scale) Mouse on Mars' work trademark textures and cacophony: the glitchy mini-sonata Wald FX, the electronic pastiche of Booosc, the abstract soundsculpting of Mompou. It is an entertaining, while transitional, work.

Niun Niggung was an amusing detour. But Idiology (Thrill Jockey, 2001) was the real manifesto of the new phase: Mouse On Mars opted for upbeat, lively, extroverted "songs" built out of polyrhythmic complexity and assorted electronic effects. Actionist Respoke, fueled by swirling hip-hop beats, engages in a process of cubist vivisection of the vocals. First Break is a wild robotic/industrial nonsense, a catalog of impossible beats. Catching Butterflies With Hands is a post-modernist index of retro-styles, from jazzy horns to disco strings to garagey keyboards to loungey guitars, all terribly maimed and recombined.
Toma and Werner are at the peak of their art as producers. Subsequence is centered upon the evolving patterns of a jazzy piano and a neoclassical violin, although the main sound is the thick funky rhythm. Everything is out of order in Paradical, a vaguely Chinese-sounding chamber piece, the melody is warped, the rhythm is irregular. The closing Fantastic Analysis is a slow guitar-based shuffle that builds up to a string-based climax while toying with blues guitar and jazz piano. Everything mutates all the time. A loop rarely remains the same for more than a few seconds.
Whether it comes with experience or it represents a new challenging frontier at this point in their career, the duo is also streamlining the compositional method. For example, Presence is fundamentally a ballad in the melancholy style of Robert Wyatt, and is followed by the symphonic interlude The Illking. Doit is mutant reggae reminiscent of sinth-pop novelties of the 1980s.
Mouse On Mars' approach has become "Babelic" in two ways: by incorporating so many "live" instruments, and by revisiting so many musical genres.
The album is an hallucinated symphony of instrumental colors.

Agit Itter It It (Thrill Jockey, 2002) collects oddities and remixes. Rost Pocks (Matador, 2003) collects five EPs: Frosch, Bib, Saturday Night Worldcup Fieber, Cache Couer Naif, and Twift. Werner sacrificed his proverbial minimalism in favor of an unusual complexity of tones and patterns on Lithops' angst-ridden and jazzy Scrypt (Sonig, 2003), Queries (Sonig, 2006) and Mound Magnet (Thrill Jockey, 2006).

Radical Connector (Thrill Jockey, 2004) is, de facto, a collaboration with drummer Dodo Nkishi. Far from being "radical", it is a casual romp that juxtaposes some novelty numbers (Wipe That Sound, Mine Is Yours) and some abstract numbers (Evoke An Object). All in all, it is largely disposable.

Despite having been recorded during the same sessions, Varcharz (Ipecac, 2006) is the opposite of its predecessor: an artsy, brainy, glitchy sequence of shapeless studies on sound manipulation. Rather than an album of music, it serves as a manual of techniques for future albums. They appropriate and recontextualize garage-rock (Hi Fienilin), video-games (Bertney), drum'n'bass (Chartnok), etc.

Von Sudenfed is a collaboration between the Fall's Mark Smith and Mouse On Mars that resulted in Tromatic Reflexxions (2007), a dance album in the vein of LCD Soundsystem.

Parastrophics (2012), Mouse On Mars' tenth album, was an elegant reelaboration of their old ideas in light of 21st century technology, yielding the dissonant post-industrial polyrhythmic concerto of They Know Your Name, but also the single Polaroyced, that oddly sounds like an instrumental Michael Jackson remix. The mini-album WOW (Monkeytown, 2012) was their worst release yet, totally devoid of meaningful ideas.

Dimensional People (Thrill Jockey, 2018) was an orchestral experiment featuring about 50 musicians.

AAI (Thrill Jockey, 2021) is a very fragmented work.