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on 20 January 2003
Much has been made of Supersilent's silence. The minimal aesthetic of their album sleeves and their lack of communication when not performing, means they are sometimes seen solely as taciturn; a band with nothing to say - either to each other or the wider world. This would be a great misjudgement . Supersilent's output is engaging, powerful and beautiful. This album is no exception. Building on their excellent reputation in left-field electronic circles, 6 also has hints of the spaces in the soundtracks to Westerns, the timbre of Dupre's output or the epic rise and fall of a Godspeed You Black Emporror side. Supersilent 6 will speak to fans of many types of music and they will listen, love and cherish it.
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It was with some trepidation that I bought and listened to this rather remarkable album.
While Aarset, Molvaer and Wesseltoft each take the baton of Electric miles Davis and Funky Herbie Hancock somewhere fresh this collective seem to have Brian Eno and robert Fripp as precursors.
There are some rich harmonies, bizarre electronics and an ambience that seems to me to be utterly urban and contemporary.
highly recommended
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on 15 October 2007
For anyone who thinks music has nowhere new left to go, guide them to Supersilent. They're simply a powerhouse of uniqueness, constantly evolving and refusing to be pigeonholed into any recognisable genre. Jazz? Ambient? Noise? They all get touched upon here, yet the overall mood and style of the album is something else entirely. Truly great.
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on 27 May 2004
Supersilent - who are these guys?! Listening to this stuff reminds me of the kind of rambling music I get in my head when I'm dreaming. Sounds like a joke, but actually makes a serious point - this stream of consciousness style of musical improvisation comes from a deep and sometimes dark place in the human psyche. This does mean that they are relating directly to a part of your brain that certain other types of music (ahem!) do not reach. It conjures up serious beauty at times and at others it can sound pretty disturbing. Whichever, this is sonic landscaping that would not be out of place in a Tate Modern installation. Sometimes bland, sometimes intense. Very textural, very filmic. Always challenging, always evocative. Not wallpaper - unless you are the kind of person that likes the kind of wallpaper that demands attention. I have heard similar things in works by Brian Eno, parts of Keith Jarrett's Spheres, and maybe elements of similar ideas in Philip Glass's soundtrack for Koyaanisqatsi - all of which I like. Your call ....
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on 19 August 2014
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