I arrived at around midnight to barsoma, making my way past several dejected would-be patrons who were turned away at the door for failing to secure a presale ticket. The main stage was set up on the street-side edge of the room, nestled between in a corner of exposed brick that gave the whole scene an underground vibe. The stage was also set up to be almost crowd height, which made things feel very intimate.

Toy Balloon were already into their set and I was struck by the contrast between how tight they sounded and their mildly awkward presence. The awkwardness came across as honesty that infused with some of the lyrical themes in their music; harmonious and vulnerable. There was a rawness about them, rough around the edges and confessional.

I have to commend barsoma on their air-conditioning system. It was an extremely humid night and without the air-con the night’s focus would probably have shifted from music to the dreaded and inevitable ‘indoor rain’ phenomenon.

In the main room, Seekae had set up and were ready to play. Reminiscent of an early Gerling, these guys were focussed and supremely confident. Seekae played a journey set with force, mixing live drumming, some kind of mouth keyboard and haunting, delicate melodies. It’s quite clear to discern influences like Aphex Twin and chip tunes, particularly from their closing track. It was fantastic.

Then the lights went out. Mount Kimbie were up. Opening with Ruby, they began with their trademarked tense, nuanced soundscapes. Hearing Ruby live gave it new depth and shades of meaning, the crowd feeling every gradient of the track and responding in kind.

Watching this whole set played out live was really something unique. Playing a riff on a guitar, recording it live, then looping and manipulating that loop was such was a strange dissection of time – not to mention seriously engaging to witness.

When they played Carbonated, I felt like I was lucid dreaming. Like some of their other live versions, it was heightened from the studio mix. When Before I Move Off first began, it was difficult to identify, until the live guitar came in with that familiar sentimental riff. It was also a different take on the studio version, more ambient and spread-out.

Before their last track, Mount Kimbie told the audience to go “buy our album, or just go download it illegally”. The set closed with an alternate version of Mayor, which was performed minus the cut-up vocal melody but still maintaining the corresponding synth notes. It kept everyone gliding along, heavily.

Given Friday’s sell-out attendance and response, I think Brisbane could do with more cutting-edge live electronic artist nights. And if the whole thing was just an experiment, then I’m glad to say that it blew up the lab and the mad scientists are still roaming free.