Rangleklods’s work was initially sketched out in home country Denmark, but became greatly colored by moving to Berlin in early 2010, where routines were forgotten and the vast and eclectic scene sought out. Rangleklods’s sound consists of recorded instruments and analogue gear alongside purely digital and intensely programmed patterns intertwining into audioscapes ranging from minimal to ‘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 ie. James Holden and The Field.
Hello Esben, How are you? What is it that you’ve been doing and who have you been listening to today?
Hey. I was up early. Almost slept through a meeting. Drank lots of coffee. Browsed the interwebz for the perfect live-mixer to replace the one I currently use. It’s been a mind blowing Wednesday so far! Irony included.
Can you tell us where you’ve come from, musically? Did you learn any instruments growing up? Were your parents encouraging..?
As far as I remember I got interest in music because the boy living next to me – who was two years older than me, a sort of a pseudo brother and a ridiculously cool kid of his age – was an infant prodigy guitarist. At first I wanted to play drums, but my dad understandably wasn’t to pleased about that. So I got a guitar instead. And I’m glad that’s how it turned out. I guess I come from a quite un-musical family though. How it ended up being what I do is not because of family pressure, that’s for sure.
Do you remember the exact moment when you realised your heart and soul would forever belong to music?
As a listener at a very young age. As a musician at a very late age. I’m partial to saying something like a couple of years ago really. I’ve always been doubting that I would become a good enough composer and producer. At least as good as I wanted to be. It’s a very recent thing for me to be content with my work. And I see that only as a good thing because it has made me much, much better. I am not interested in making decent music. My bar is set way higher than that.
How do you think the definition of pop or mainstream music is being redefined by the new Web music landscape?
Well, mainstream is not as main a stream as it used to be, is it. People can find out what kind of music they like for themselves. No radio and record store dictatorship these days. There are so many different ways of stumbling upon new music. And old. There’s not a single change that the internet has brought on to the music business that I don’t think is good. Being a musician in 2012 isn’t bad at all.
Can you tell me a little bit more about the first single ‘Clouds?
‘Clouds’ is lyrically about the transition from the rule set of childhood to the rule set of adulthood. That brief moment in time – for me it was a couple of months, maybe just weeks – where you feel like there are no rules at all. Mostly just because you haven’t deciphered the new ones yet. It’s about hope for and disbelief in ones future, unrest and being a part of a pack. Musically I sort of see it as a surrealistic painting of my hometown, which is a beautiful little place situated on top of a hill with an overview of Aarhus Bay.
Are you currently writing an album ?
I finished my first album ‘Beekeeper’ in the beginning of February. Currently it’s only released in Denmark though. The EP ‘Home’ is available everywhere. But I’m looking for the perfect label to release the album at the moment. If that doesn’t work out we’ll self release it. I’m not interested in finding a so-so label. In that case I’d much rather keep total control myself.
Do you write songs as a band, or do they all come from individual band members’ experiences?
Well, the band is really just me. Live I bring along a guitarist. That adds a lot. But during songwriting and producing I work alone. I listen to a lot of peoples advice, but it’s nice to know that if I don’t agree with them I can just keep it the way I want. That’s why the music and the sound is so uncompromising.
Have you got any plans to do any collaborations in the future? Who would you love to work with if given the chance?
Being totally unrealistic I’d like to work with Victoria Legrand from Beach House who I think have the best female vocal out there right now. Clark, The Field and James Holden would be amazing producers to collaborate with.
Finally, what plans have you got for the year, and have you confirmed any festival appearances yet?
The plan is to find the right label and get the album released as soon as possible. Apart from that I’m really just looking forward to returning to the studio and start producing again. Festival-wise I’m playing Roskilde, Distortion and a few more in Denmark, Dockville in Hamburg and some unannounced ones arround Europe. It’s going to be a good year.
Any closing words for TEEZ’FM listeners?
Website : http://www.rangleklods.com
Thanks to Esben and Sabry
Photo by Jason Alami
Interview by Thierry Jaussaud