Though I doubt that there's a plethora of music nerds out here, I would consider myself to be one, and for that reason, I believe that many of you would want to know about the most iconic, ground-breaking jazz band of our time, Supersilent.
This iconic trio formed at a festival known as Nattjazz (A.K.A Bergen International Jazz Festival) in Norway, back in the year of 1997. At the time, most people considered jazz music out of its prime; they said the likes of Miles Davis and Coltrane did what they could for the genre when they were alive, pushing the instrument we know as the saxophone to what we thought were its limits. However, there was one thing that had never been experimented with throughout the genre's long and winding history: electronics. At a time where contemporary jazz was at its last legs, Supersilent took the instruments and characteristics of free jazz and utilised traits of the EAI genre (a genre in which acoustic instruments are toyed with via electronics in an improvised nature) in their debut known as 1-3. Highly regarded by renowned music critics like Scaruffi, it gained a positive status within the EAI community, earning them a great reputation within such a clandestine fanbase.
Their followup studio album, 4, brought a more sombre atmosphere to the table, offering more of that avant-garde jazz sound occassionally seen on 1-3. Though it didn't receive much acclaim compared to 1-3, it is still noteworthy as it gave us an opportunity to see the jazzier side of things.
After this, we had 2003's cult classic 6, which is what the band are most well-known for; the release refined the ambient sound of 4 with hints of EAI throughout. Its epic yet slowly-paced buildups found in tracks like 6.4 made the album truly triumphant; a feat for avant-garde jazz that could never be reached again. Pitchfork's review by Chris Dahlen aroused interest in the band for many, and it was adored by several other critics of all sorts of backgrounds and tastes.
After Supersilent received such fame and esteem in the following of their genre, they used their new-found popularity to later indulge into more ambient-influenced improv and drone-like music, most notably on 2009's studio record 9. Since then, they have continued their craft and continued to never let down their eager fanbase.