Apostille is the solo musical guise of Glaswegian DIY protagonist Michael Kasparis. Initially a creative harbour from his groups Please and The Lowest Form, Apostille has grown into an explosive synth-punk project unafraid of both physicality and emotional leakage. Powerless is Kasparis’ first album proper, following exploratory works on Goaty Tapes and Clan Destine, and is Apostille’s first release on his own Night School Records. Fiercely independent in practice and execution, Apostille’s stated purpose is to bridge the gap between audience and performer, to connect through the fog of power structures and post-modernism; to ferment a direct pop music unconcerned with control. Powerless explodes with Life - a rage of brilliance that acts as a communal outlet of shared frustration and confusion at the world. At moments haiku-like mantras lament over a damaged industrial de-composition as in The Collector, at other times there’s a Depeche Modish fragility as in Side 2 opener Deserter. In warped, subterranean ballad Olivia’s Eyes an almost decapitated duet details criminal instincts, while live favourite Slurry demolishes proceedings with a Suicide-like take on Chicago house; a mammoth journey into the psyche of a ‘Falling Down’ prototype, lost in a world of perpetual motion, speeding up and uncaring. Touchstones of early Mute artists like Fad Gadget can be found in Apostille’s overwhelmingly physical live performances but like Tovey’s best work, or perhaps that of Crash Course in Science, there’s a depth on record that paints in more complex colours. Apostille is pop music from the outside looking in.
