You can’t accuse Supersilent of keeping the noise down. Ever since 1997, when Norway’s finest free music oufit came together for the first time, their unpredictable noises and rapturous textures have been heard all around the world – and maybe somewhere outside the stratosphere too.
Mostly taped in an Oslo studio at the end of 2014, the band record everything on 13 live, while blasting their sound through a PA system, so that they can feel the physical air moving as if they were on stage. Tracks 1 and 5 date from 2009, immediately after their drummer’s exit. “They were tryout sessions to see how we should proceed,” says Helge. “It was a kind of research for the band to feel how it is to be three, not four, and to blow off some steam.”
All of Supersilent’s music is entirely unplanned, with all three experienced musical adventurers throwing themselves into the moment and riding the emerging maelstrom. They always manage to surprise you, whether it’s the Indonesian ritual music heard from a Scandinavian mountaintop on the opening track “13.1” or the compressed digital labyrinths of “13.9.”
The trio swap instruments with abandon: percussion, trumpet and woodwind, electronics and Storløkken’s collectable assortment of vintage keyboards. In this technologize environment, sounds are passed around, distorted and spat out again in tantalizing splurges. “It takes time to shape a band from the beginning,” says Helge, “but for us now the trio is working really well.” With Supersilent’s lucky 13, now you can be the judge of that.
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