Shifting from the sweaty party-rocking circuit, spinning grooves built to fill dance floors, to the introverted instrumental of Tim Hoover’s most recent, More Napkins. Hoover’s "headphone" opus is the come-down to over a decade of filling dance floors, a musical trip best-suited for deep contemplation and solo sojourns through the city at night and another type of experience altogether.

So despite the fact that large throngs of people had become tiny clusters by the time I returned to aceartinc. from the Atomic Centre, Hoover’s set provided the right atmospherics to curtain-call my night, especially coming from the riotous on-stage energy I had just halted from.

Hoover's instrumental oeuvre is short, but that’s all made up for in the density of his production. Standout track Numbers, which draws on known and unknown samples and spliced sonics buoyed by eerie bass wallops, matched the late-night daze that had befallen the crowd at that past-midnight point in the evening. And by the time the beat conductor had reached his symphonic Finale, most of the heavy-eyed clusters had all trickled out.

While Hoover’s overall orchestration may be compelling, watching him stand in front of his computer for close to an hour without any added visual component was pretty boring. It seems logical (to me anyways) that if you’re going to harness the melancholic atmospherics of More Napkins, visuals, lights – or something – might have propelled the set to greater heights.

Starting later than expected at 10:00 p.m. (the flier said 8:30 p.m.), Blunderspublik (aka Curtis Walker) opened the electronic show at aceartinc. in place of Vela, and I was glad to have been able to catch his set before zigzagging off to another Big Fun gig.

Kudos to Walker for his performance that included transfixing moments of buzzing distortion and melodic electronica atop effects-laden vocals, dipping into near shoegazing depths. In addition to throwing some live guitar into his set, Walker sang – at one point professing that he usually doesn’t sing as much as he was that night. Though I have to say his voice, coalesced with hazy electronics, was fantastic - recalling the easy electropop of Junior Boys in places. Perhaps the most thrilling track to see performed live was Elixir in which Walker manipulated sounds from his kneeling position on the floor while pulsating whomps and terrestrial builups ricocheted through the space.