Timothy and the Apocalypse have released the new album titled ‘Future So Bright’. That first initial listen gave me that unique impression that this is a score to a film yet to be made. I also realized, as my Roku box was streaming whatever it wanted to, that this album syncs to the 1927 Fritz Lang film ‘Metropolis’. Coincidence? Maybe. The album titled lends that it may be one of those cosmic coincidences.
This album, however, more than stands on its own. It stands with itself. Part instrumental. Part concept. All original, the music is as worldly as it is unique, each track bears the fruit of genius with original sounding instrumentation and instruments, with enough creativity to fill the world itself.
Future So Bright is the debut long player from Timothy and the Apocalypse. A critical update to the catalogues of downtempo house and the subversive revival of acid-jazz.
Timothy and the Apocalypse is the solo musical endeavour Timothy Poulton, an Australian musician, composer, songwriter and producer for Mass Experience. After two years living through a world pandemic, catastrophic Australian bushfires, career change and challenging family issues Tim started writing music again as an outlet for his frustrated creativity. Using his experience from rock, pop and indie from the eighties, dance and rave from the nineties, hip-hop and electronica from the twenty-first century, Timothy and the Apocalypse has released numerous singles and an EP in the lead up to his debut body of work.
Future So Bright sways in the wind of many styles, floating on the whims and collecting remnants of electronica’s history and reactivating past elements of contemporary music. The combination of vintage guitars and Teenage Engineering Pocket Collection synths, Future So Bright updates the likes of Air’s Moon Safari and St. Germain’s Tourist with a dystopian digital edge.
Despite the album’s contextual potency, Tim’s production is expansive, psychedelic and deeply enjoyable. Opening groover I’ll Be Yours comes to life with disembodied voices, fluttering synths and soaring guitars as does The Mindful Cherub, playing off conventional desires for HipHop Radio and commercial meditation with soothingly illusionary chimes and 60’s psyche escapism.
Future So Bright is further illuminated by leading single You Oughta To Love Me featuring Kate M Little, as the tempo rises textures thicken and amongst the mirage of massive synths Katie’s cry rings true to all of our mothers. As the album unfolds the Tim’s sense of irony continues to imbue his work with references that discredit the status quo, remixes of Dirty Dictator and Turf Traveler by Floating Pyramids bookend Insidious Harmony, a trio of sonic somas that spatially allude to one story of collapse while offering beatific delights within.
With his previous career as a internationally acclaimed photographer behind him, Timothy Poulton’s music still carries a profound love and respect for the natural world, his appreciation of form and function as aspects of power saw him have Future So Bright engineered in the Forbes Street Studio with Chris Hamer-Smith (Thundamentals, Hilltop Hoods, Emma Donovan) and mastered by legend Mike Marsh (Basement Jaxx, Calvin Harris, Depeche Mode) in the UK.
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