A Livingroom Hush (jun 2000 - may 2001) (reissued Ninja Tune, 2002) straddled the border between the Canterbury sound of Soft Machine (melodic jazz-rock) and the post-rock sound of Tortoise (discordant jazz-rock). The robotic fanfare of Animal Chin feels like jazz remixed by a hip-hop dj in love with minimalist repetition. The Soft Machine-esque Going Down is driven by a smothered organ and a kinetic beat. The Latin-tinged Airborne is a more articulate jam. From the brainy beginning, the album turns lively and relaxing with Real Racecars Have Doors and the Caribbean-inspired Made For Radio (the title says it all). But what they do best is to evoke a mood that blends dejected and neurotic tones, as in Low Battery. The marimba highlights the romantic cinematic journey of the eight-minute Lithuania. The album ends with a piece titled Cinematic that is instead lugubrious harsh dissonant music, a cryptic ending for a psychologically ambiguous work. The line-up consisted of: Lars Horntveth (acoustic guitar, hi-string guitar, tenor & baritone saxophones, bass clarinet, flute, keyboards); Harald Froland (guitar, synthesizer); Jorgen Munkeby (tenor saxophone, flute, alto flute, bass clarinet, keyboards); and Mathias Eick (trumpet, keyboards, acoustic bass).

The percussion is more invasive on The Stix (Ninja Tune, aug 2001 - aug 2002)(reissued in may 2003), disrupting deformed melodic fantasias like Kitty Wu and Another Day and cinematic vignettes like Day and Doppelganger (one of the highlights). Reminders and Toxic Dart are brainy demonstrations of their neurotic aesthetic. The rhythm almost stops in the languid ballad Aerial Bright Dark Round. Here and there a tendency surfaces towards jazztronica for the masses, notably in The Stix. The album is generally an improvement over the previous one. The rhythmic element, however, is a mixed blessing. It increases the complexity and distracts from the main flow. The energetic and unstable Suomi Finland, perturbed by sound effects, is where the right balance is found.

What We Must (Ninja Tune, 2005) contains the eight-minute single All I Know Is Tonight, which avoids the brainy aspects of their jams while retaining the overall aesthetic of intelligent, atmospheric instrumental multi-layered music for the masses. The highlight is instead the pensive and subdued Swedenborgske Rom (8:46), that seems to incorporate mystical overtones. Alas, most of the album feels uninspired, from the bombastic melodic excess of Stardust Hotel to pieces like I Have A Ghost Now What? and Mikado that border on easy-listening muzak.

Jaga Jazzist's multi-instrumentalist Jorgen Munkby formed Shining and, after the acoustic and truly jazzy Where The Ragged People Go (2001) and Sweet Shanghai Devil (2001), turned to bombastic progressive-rock on chaotic collections like In The Kingdom of Kitsch You Will Be A Monster (2005) and especially Grindstone (2007).

Lars Horntveth debuted solo with the jazztronica experiment Pooka (2004).

The first Jaga Jazzist album in five years, One-Armed Bandit (2010 - december 2008), was their least "jazz" and most "rock". It often sounded like a return to prog-rock of the 1970s, replete with suspense and melodrama, but also sabotaged by bombast.

Shining's Blackjazz (The End, 2010) featured Munkeby (vocals, guitars, saxophone), Lofthus (drums), Kreken (bass), Moen (electronics), Hermansen (guitars) and vocalist Gentle Kjellson. By now the sound had mutated into the sort of pummeling atonal prog-spazz-metal preached by the likes of John Zorn's Naked City coupled with the anarchic free-jazz aesthetic of Borbetomagus (The Madness and the Damage Done, Healter Skelter). As usual, grand ideas coexist and share the stage with childish filler and second-rate music (like the nine-minute cover of King Crimson's 21st Century Schizoid Man sung by Enslaved's vocalist Grutle Kjellson). This is true also of the lengthy pieces, Blackjazz Deathtrance and Exit Sun, that could have been trimmed down a bit for maximum effect.

Jaga Jazzist then released Starfire (Ninja Tune, 2015), which contains five lengthy jams. A confused an uninspired Starfire (8:47) and an overlong and hysterical Big City Music (14:07) are emblematic of the mediocre standard of the album, further handicapped by a general frenzy. The industrial ballet Shinkansen (7:43) is midly intriguing. The bubbling electronics and the wavering Slavic theme bestow a sfi-fi atmosphere onto Oban (12:41), the highlight, but the breathless execution takes a toll on quality.

Pyramid (Brainfeeder, 2020) is down to four lengthy jams: standout Tomita (13:47), which at times sounds like a sort of Caribbean take on Jon Hassell "fourth-world music", at times moody be-bop jazz, and at times a remix of the Tornados' Telstar (1962); Spiral Era (8:09), a conventional prog-rock suite; The Shrine (9:06), a tribal and funky detour; and Apex (8:09), a rather confused attempt at cosmic jazz with a vibrant finale.