That's fine. You can do that.
And yeah, even back when I made these, I figured it wasn't for everyone. It's very electroish and grungy sample rock blend at first and, and then slowly drifts back and forth between solid constructed tunes, to tripped-out weird, and back again. Occasionally a few bits like "November" come along to change the sound, then changes gears and goes somewhere else.
The first few tracks tend to start out as solid songs that are a bit New Wavy, a bit electro, a little bit rock-ish, or electropunk-ish, and then slowly slides into tangents of chaos halfway into the album, and then struggles to find it's way back into sanity again by the end. And the journey is to see whether or not the album wins against itself. :p
I developed a sound and style with these that is a slow, transformative, experimental kind of oddness that evolves into strangeness and doesn't sound like traditional music or songs. So I agree that it's style is overall a bit bizarre that a lot of people aren't going to be into, unless they are into really weird shit like Kraftwerk or such.
It was kind of like a bleeding between early KMFDM before they shaped their current sound, a good deal of Kraftwerk, some elements of New Wave, and the general feeling behind experimental Pink Floyd songs like Atom Heart Mother or Saucerful Of Secrets, that vegges out and goes through it's weird shit. But sort of hemorrhages back and forth between solid tunes and weird tangents.
I guess that's the best way to describe it.
Worx was more of an effort to be the same as the first but harder, darker, more sampled guitars (Which is a bitch to sync to beats, I don't mind saying. :p) and more tightly programmed stuff. But it also gets even weirder in it's middle section before coming back to hard, darker sanity.
I also did two albums that came before these way back in like 1999 or 2000 using more limited sources that I recorded on blank cassette tapes, called "Audiohurt" and "Ice And Diamonds" but those are well and truly lost. :p