Blanck Mass / Apostille @ Stereo, Glasgow, 11 Dec

“Might live tweet my show tonight,” deadpans Michael Kasparis – aka Apostille – before the gig. He doesn’t actually do it (140 characters are no way enough), but it’s not the type of jape you’d put past him; resembling a mild-mannered janitor, he nonetheless bounces across the stage armed with distorted, shouty vocals and a table full of hardware, the bass frequencies set to trigger seismic damage. It’s noise that artfully toys with preconceptions; one part Mike Skinner to two parts Atari Teenage Riot, and exposure that’s bloody, taking few prisoners.

In contrast, Benjamin John Power doesn’t do stage presence; there are times when the most interesting thing to look at is the spinning Blanck Mass roundel on the projection screen at his back. Instead, a case of soundtrack pitched centre-stage, and a set of seamless electronica that works on an almost symphonic level.

There’s plenty from this year’s Dumb Flesh LP – opener Loam all twisted filament, Dead Format a benediction – but this is no mere album showcase, the wide-aperture drone of Olympian and screwed-up synth pop of The Great Confuso representing counterpoint. By tweaking and splaying the material, then pulling it into an hour-long continuum, each track is presented in a slightly different context, and it’s this reframing that underlines the control, reinforces the gear changes; by the time the set descends into its dissonant pay-off (and Power is rewarded with the only peal of applause), there’s the sense of expectations reassembled, which is all kinds of thrilling.