Whilst all the headlines will go to Battles for their superb set, I had primarily come to the Electric Ballroom to witness Buke & Gase, the DIY New York duo handpicked by Battles for this leg of the tour. I had discovered the band only a month ago, through a friend's recommendation, and built excitement after discovering they were the support for a gig I was going to anyway. Is there anything more thrilling than a gig with such inspired support band?

Brooklyn-hailing, Buke & Gase comprise Arone Dyer and Aron Sanchez - both veterans of the NY music scene, first meeting in the band Hominid. They're known for building their own instruments and adopting a 'learn to do it yourself' approach to whatever. Sanchez otherwise works in instrument design, Dyer is a bike mechanic. They make compelling, impish, angular, lean avant-rock that pulls you in through relentless thuds, inventive time signatures and some delightful vocals arcing the upper register. Much excitement to behold as they took to the stage, Dyer with tambourine strapped to her feet, Sanchez with bass drum pedal against his own.

And that bass drum proved to be a bit too much, certainly through the opening two numbers. It was threatening to overshadow their efforts until a soundman stepped in to EQ it after the second song, around which time the audience stopped staring in that 'rabbit in the headlights' way and really started getting down to it. They played a selection of tracks from their debut LP Riposte and second record General Dome, notable stand-outs were the delightful 'Your Face Left Before You', which features a crushing riff set against the sweetest, most delicate and deliberate vocals. Otherwise, the band indulged a number of unrecorded, experimental numbers that came across almost as performance art pieces with Arone Dyer dancing in irregular movements and utmost defiance. They're a sweet, joyful band and their music made a rather fitting start to the evening.

A short break and Dave Konopka took to the stage. As is customary with every Battles gig I've seen, I've found the opening few minutes of their concerts perhaps the most instructive. Konopka comes out, plays a single guitar chord which lingers in the air. Then, guitar cast aside, he's on the ground and playing with loop boxes, modulators and all manner of other splendid bits of tech I literally have no idea what. That single chord became a throbbing note, became an overlapped syncopated beat, layer upon layer, fragmented, multiple time signatures and modes, as Konopka was joined first by Ian Williams, joining the building tension, turning sounds inside out, and then by John Stanier who only ever comes to do what John Stanier does best. It's as if they allow those opening moments to serve as a peek behind the veil - 'See? This is how we do it" and then after that, for the next hour and twenty minutes, you're on your own amidst a swirling wall of fantastic noise.

'Dot Com' was a superb opener and quickly moved into 'Ice Cream' - by far the silliest and most decadent song they've written. The mad joy on Ian Williams face as he attacked his guitar in the opening bars of that song will stay with me. Elsewhere, 'Futura' was a particular highlight - by far the best song on Gloss Drop and the tracks from new album La Di Da Di were the most successful in the setlist. Clearly, the band are favouring this new incarnation and focusing purely on instrumental music is doing Williams and Konopka huge favours. Williams, in particular, is a born performer; the dandyish, extravagant way he straddles his array of synthesisers and guitars surely is only done for show.

I'm going to draw some ire for this, but the only low points in the set came at the end. First, closing the set with Atlas and then a flat encore that was over before it had begun and had been bookended by some trivial, dismissive, stage patter from Williams. Konopka is a rather more engaging speaker, and reeled off a list of thanks. Williams decided that sarcasm was the key note, and took to asking us about our sex lives, dismissing any answer. There's something a little aloof, a little arrogant about his stage demeanour and whilst he's clearly a profoundly talented musician, shouldn't get the better of him or anyone.

'Atlas', then. I[d spent much of the gig around the middle of the room, dancing almost non-stop. The crowd wasn't wholly in the same mood, until 4/4 pop-hit 'Atlas' swelled into existence, and suddenly we've got a mosh pit and crowd surfers. Do me a favour. Frankly, I think they should stop playing it - it's so clear by the music they're making currently that they're far beyond something as simple and unconstrained as 'Atlas', and they didn't much enjoy playing it. The only redeeming feature of the performance was the hilarious 'call and response' soloing that Ian Williams was doing with himself, in the mid-section. Left hand playing some guitar riff, right hand answering it on synth - much in the same way that Jonny Greenwood does his level best to ruin 'Creep' whenever Radiohead setlist it, I did get the sense of purposeful sabotage there - not that the bopping crowd minded much. That it was the only song played from Mirrored, I think, tells its own story. My advice? Drop it.

Battles strike me as that rare sort of band that is both profoundly serious and inherently ridiculous simultaneously. Their use of technology and software is clearly so informed and focused, yet some of the sounds they come up with to use are just silly. They're a joy to watch live, one of the rare bands I could happily watch all day long. Whilst some of La Di Da Di may have sounded a little flat on record, in a live setting they were anything but. Deconstructed, reformed, these songs came alive. A delightful evening spent in the company of two extraordinarily talented bands.