Efterklang are a curious proposition. The eight-piece experimental Danish electro-collective hove into view in matching black shirts, voluminous white trousers and braces: only pianist Anna Bronsted, in a red dress, opts out of a uniform that leaves them looking like a bizarre melding of Kraftwerk and the Chuckle Brothers.

Like their Nordic contemporaries Sigur Rós, Röyksopp and Múm, Efterklang make music partly to evoke the majestic geophysical splendour of their local landscapes. They had a No 1 single in Denmark earlier this year with Under Giant Trees, and their recent second album, Parades, is a stately collage of multilayered vocals, pristine techno beats and glacial string arrangements.

Their recorded output may unfold on the verge of silence, but live, Efterklang are more robust. Trumpets, trombones and glockenspiels weave in and out of the mix, while their twitchy rhythms and insatiable, querulous glee leave them resembling a more po-faced take on Arcade Fire. Bearded vocalist Casper Clausen is an engaging figure, grinning at the audience like a gawky adolescent and gratefully joining in with between-song applause. For Horseback Tenors, the group line up like a town choir and portentously croon over a volley of laptop-generated pizzicato strings. They may be post-rock geeks but they are also fun: somehow, the complex, shifting time signatures of Cutting Ice to Snow manage to sound both cerebral and utterly intuitive.

In truth, Efterklang work best as a private, headphone-friendly pleasure and the intimate reverie of Mirador, based on a music box, recalls Vespertine-era Björk. Nevertheless, a singular show ends with Clausen conducting the rapt audience in a solemn chant accompanied by sleigh bells. It's been quite a trip.

· At the Arches, Glasgow (0141-565 1000), tonight. Then touring.