APOSTILLE announces live dates + shares Supersonic mix … Debut album Powerless out now via Night School Records!‏

June 14, 2015
Elliott Kennedy

Elliott Kennedy


Announces Summer Live Dates

Powerless Out Now via Night School Records

Stream Exclusive Supersonic Mix
“On the jaw-gnashing industrial dry hump of Good Man, Kasparis sounds like Depeche Mode after a particularly heavy session.” – Q

“Highly recommended for synth and electronic obsessives.” – The List

“a smoother take on static-laden, vintage darkwave – [bubbling] with melodramatic brain lava – the kind of inner horrors you think of on the bus that are so extreme you scare yourself for a second”
– Loud and Quiet

Having toured his imposing synth-punk around Europe with labelmates Happy Meals a few months ago, Apostille is readying a string of solo shows and festival appearances this summer, including a date at Cafe Oto in July, and appearances at Supersonic, Tramlines, and Doune The Rabbit Hole festivals. Dates are as follows…
10th – 12th July – CREEPY TEEPEE Festival, Czech Republic
16th July – Soup Kitchen, Manchester
26th July – Tramlines Festival, Sheffield
27th July – Cafe Oto, London
21-23rd  August – Doune The Rabbit Hole Festival, Sterling
29th August – Edinburgh, Venue TBC.
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 Tapesand 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 balladOlivia’s Eyes an almost decapitated duet details criminal instincts, while live favouriteSlurry 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.



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