Apostille is Glasgow’s Michael Kasparis, releasing what is billed as his first proper LP, Powerless, on his own Night School label.
Starting as you mean to continue indicating the confidence Kasparis as in this body of work.
A short review would read as ‘another quality release from the label’, following the SAY nominated Happy Meals LP (link to review please). However Powerless is the polar opposite to the colourful electronic palette that defined Apéro.
Live Apostille strikes to those, who can remember, pre-Letterman Future Islands; Kasparis’s intensity is described as he only has one setting when performing and that setting is firmly ‘on’.
This LP is a conscience attempt to separate the live experience with a smoother experience.
Looking beyond the mirk of recordings the listener can detect as mentioned in the press release hints of Mute Records early work such as Fad Gadet.
Synthetic slap bass sounds on ‘The Collector’ and bee buzz sequencers on ‘Control’ best sum up the harshness of this album.
Vocals go between strained and distant to deadpan monotone 80s postpunk.
Bouncier moments are to be had; ‘Deserter’ is one these lighter moments from the industrial barrage, I say bouncier but the LP is no where near buoyant at any point, which Kasparis stated recently in an interview was derived from studying Erasure, again that Mute connection.
An album as creepy as this would not be complete without a song like ‘Olivia’s Eyes’, with the introduction of female vocals, it isn’t quite as slasher creepy as it could be, thankfully, the variety of vocals make for a far more complex piece.
By no means relaxing, Powerless is what Apostille renders the listener with this harsh distorted slab of an album.
Grab a listen before you do someone some damage.