2. Yound And Dumb
During the last year the now Copenhagen based Dane Rangleklods has created a name for himself in the underground milieus of Berlin, Aarhus and Copenhagen trough his tireless and intense electronic live performances. Rangleklods' music captures audiences by seeing past conventions regarding genre and good/bad taste, simply giving in to the subconscious will of creative impulses and by understanding the playful utilization of the computer and its unreachable limits as a musical instrument. The dance encouraging compositions unites a high sense of melody with sound experiments conveyed by a charismatically deep but encompassing voice, creating an absorbing universe that dares to speak directly to the emotions of the listener. About the rather nonsensical name Rangleklods says:
“The name itself is to me an expression of the musics integrating, playful and unbound nature. The emptiness of meaning in 'Rangleklods' (there really isn't any) has given me space to cross limitations and expectations, thereby reaching an expression that joins together all the music I love into a result that can be appreciated in many different ways by listeners of various musical backgrounds and preferences.”
Rangleklods's sound consists of recorded instruments and analogue gear alongside purely digital and intensely programmed patterns intertwining into audioscapes ranging from Minimal Techno to 60's style 'Wall of Sound'. Both in that regard and composition-wise Rangleklods points just as much backwards towards Pet Sounds and Doors as it does forwards, animated by such artists as James Holden and The Field.
During concerts Rangleklods breaks out of the stereotypical notion of the laptop concert by doing as much live as possible; singing, playing instruments and using various controllers (ie. a home built distance sensor box). The object is to lose total control and take chances to such a degree that mistakes – and how to constructively deal with them – often lurk around the corner, making the concerts better and more acute for the audience as well as Rangleklods. In this aspect the live performances separates themselves very much from the actual production of the tracks, where Rangleklods spends countless hours on compositional details and the aural quality and connectedness of timbre.