On a night when the city was being lit up by most of M for Montreal's headliners, and choosing a single venue was more difficult than ever, Hudson Mohawke took the DJ decks at 1:30 a.m. at the suitably warmed up Société des Arts Technologiques.
He built his set slowly, opening with Oneohtrix Point Never's "Animals," then segued through a series of increasingly hyped-up tracks, including Rustie's "First Mythz." About five songs in, Montreal producer Lunice, aka half of TNGHT, showed up onstage behind the Scottish headliner, but alas, it was just for support — he didn't join on the decks.
He didn't need to, though; Mohawke has come a long way, and his sets now fuse all three distinct periods of his work, mixing his newer, more orchestral experimentations such as "Kettles" with his older turntablism, which he showed a few times, bringing his micro-sampling past into the mix. He even threw back a few times to his beloved TNGHT EP, getting wild responses to both "Goooo" and "Higher Ground," both of which reminded one just how forward-thinking that release sounded in 2012.
Occasionally, Mohawke sped up the tempo beyond his usual bass-y wobble, but the crowd were in the mood for trap — it was "Chimes" that really provided the set highlight — and he delivered. Ever the showman, he used quieter samples between songs to create tension although perhaps they were sometimes a little too long (the crowd looked lost during an extended soul slow-jam).
Still, it was a good show, and Mohawke himself wore a huge grin for most of it. When he finally closed his laptop, the crowd immediately pled for one more, so he didn't leave the stage — he played one more song, then at 3 a.m., left the rabble to come down.
He built his set slowly, opening with Oneohtrix Point Never's "Animals," then segued through a series of increasingly hyped-up tracks, including Rustie's "First Mythz." About five songs in, Montreal producer Lunice, aka half of TNGHT, showed up onstage behind the Scottish headliner, but alas, it was just for support — he didn't join on the decks.
He didn't need to, though; Mohawke has come a long way, and his sets now fuse all three distinct periods of his work, mixing his newer, more orchestral experimentations such as "Kettles" with his older turntablism, which he showed a few times, bringing his micro-sampling past into the mix. He even threw back a few times to his beloved TNGHT EP, getting wild responses to both "Goooo" and "Higher Ground," both of which reminded one just how forward-thinking that release sounded in 2012.
Occasionally, Mohawke sped up the tempo beyond his usual bass-y wobble, but the crowd were in the mood for trap — it was "Chimes" that really provided the set highlight — and he delivered. Ever the showman, he used quieter samples between songs to create tension although perhaps they were sometimes a little too long (the crowd looked lost during an extended soul slow-jam).
Still, it was a good show, and Mohawke himself wore a huge grin for most of it. When he finally closed his laptop, the crowd immediately pled for one more, so he didn't leave the stage — he played one more song, then at 3 a.m., left the rabble to come down.
