Other than a table and a laptop, the stage at Canopy Club was desolate. But almost instantaneously, the lonely-looking stage became filled with upwards of 30 people all jumping, moshing, dancing and running in place. The crowd at the filled-to-capacity club mirrored their every movement. Suddenly, corduroy was a bad choice.

That’s how a Girl Talk party starts — with a bang — until it hits every high and low it can during the hour performance. Following the intro music, Girl Talk took to his saran-wrapped laptop to start the synchronized samples that make up the first song off “All Day,” his newest release.

Girl Talk let the guitar riff from Black Sabbath’s “War Pigs” loop a few more times than on the album before bringing in the drums. The effect worked, as the place lost its cool as soon as “War Pigs” gave way to a Ludacris verse, which gave way to “Teach Me How to Dougie.”

Girl Talk, or Gregg Gillis, used the tracks on his “All Day” album only as a point of reference before reworking the songs into brand new club-bangers.

While the samples in Gillis’ first song were all from the album, out of nowhere a Notorious BIG verse sounded. Then, 50 Cent blasted in with “In Da Club” over the “Blitzkrieg Bob” guitars which segued in Vampire Weekend’s “A Punk” chorus into another 50 verse over the sped-up “Paranoid Android” baseline over Rihanna’s “Rude Boy” over a Jay-Z verse over a Pixies guitar lick.

The transitions between loops were seamless and impressive, given that Gillis prefers setting off the loops manually rather than having the computer take control. Still, there seemed to be more low, or quiet, points in the music than on his records. It didn’t help that Gillis would often take to the microphone between tracks to ask how the audience was doing. They were sweating their asses off, move on.

“All Day” is by no means a bedroom record, but the concept of many tracks that play as one continuous track works better in your earbuds. With that, Gillis did make the best of the mid-tempo arrangements by using them to synchronize, setting off puffs of confetti and aggressive strobe lights as soon as a “Blowing Money Fast” beat or any other club hit came on.

Is Gillis the new hardest working man in show business? The music he makes is meticulous and tedious. It requires a kind of patient fandom most people don’t posses. Even Peter, Bjorn and John’s famous whistle riff in “Young Folks” got some love.

And when he’s on stage, there is no one more active than Gillis. When the dancers on stage became fatigued, Gillis, stripped to only cut-off sweats and a headband, could still be seen thrashing like it was life or death. Bobbing like a demonic Beastie Boy, Gillis then proceeded to mash “Paint it Black” with “Black and Yellow.” That kind of alliteration, music aside, is enough to blow your mind.

You cannot make that kind of stuff up — unless you’re Girl Talk.

_Ward is a junior in Media._