Timothy and the Apocalypse created the ambient deep house anthem of the summer with ‘Can You Feel It?’

Sentimentality yearningly perpetuates through the latest IDM-meets-trip-hop production from the Australian artist and producer, Timothy and the Apocalypse, whose recent releases have deservedly featured on the seminal Just Chill and Deephouse Delights playlists on Spotify.

Co-producer, THØLEMOD, added their own strokes of ingenuity to Can You Feel It? which starts with melancholic minor keys before the distortedly ethereal vocal lines instil soul over the driving backbeats and transcendently light swathes of reverb.

The orchestral synthetic layers amidst the intuitively constructed builds and breaks created the ambient anthem of the summer. Few tracks can take you higher than Can You Feel It? with the ascending euphoria being visceral enough to leave you on a sun-kissed plateau.

Amelia Vandergast, the Executive Editor at A&R Factory said:

“There’s a beautiful sense of irony in the titular question, Can You Feel It? when the sonics in Timothy and the Apocalypse’s latest single is an evocative tour de force, which will put your heartstrings through the wringer for the way the tonal contrasts leave you at the mercy of the emotionally erratic melodic progressions that all too accurately portray love as one of the only acceptable forms of madness.”

Adoration prevails through annihilation in Timothy and the Apocalypse’s ‘Love in Stereo’

Australian artist and producer Timothy and the Apocalypse is best known for his ability to bring downtempo dystopia off the streets and onto the airwaves. Yet, in his latest release, Love in Stereo, nihilism evolved into sonic existentialism as the instrumental narration and drifts of ambiguous ethereal vocals worked to testify to the sanctuary that only the lucky few can gain. 

The rich-and-poor divide is often seen as the greatest disparity known to humanity; Love in Stereo, which is flush with shoegazey dream pop tones, works to prove that only those that know affection will feel salvation. 

With the breakbeats packing colourful heat as they glitch and coast through the transcendentally intimate release, by-proxy devotion floods through the ever-tensile progressions under the duress of the artist that is quickly becoming one of the most promising on the downtempo scene. His prolific number of playlist placements is a testament to his ability to weave scintillatingly soul-deep catharsis. 

Review by Amelia Vandergast

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Timothy and the Apocalypse pushed the boundaries of apocalyptic perception with his ambient trip-hop LP, All Busted Up

Since 2021, the Australian artist and producer Timothy and the Apocalypse has been taking over the ambient trip-hop scene; the cinematically lush layers in his downtempo discography soundtrack society as we cling to the precipice of our destruction. In his fourth album, All Busted Up, written between the dystopian motifs are memorandums of what it means to be human on the edge of blind capitalist collective masochism. 

After track one, Speed of Life, which mournfully ponders how much sand stands between our demise, inspired by the loss of his mother, the LP slams into the sexier than The Deftones groove-driven piece, The Reckoner. The angularly harbingering guitars and fervid breakbeats cloaked under reverb definitively prove that visceralism isn’t out of the producer’s remit. 

Track three, When You Dream, lays the barely lucid psychedelia on thick as the Lynchian soundscape drifts through its arrestingly jarring progressions that distort jazzy timbres and soul-soaked ethereal female vocals. In all sincerity, it is enough to make Portishead sound pedestrian.

Track four, Driving Me Crazy, lends itself well to the titular illusion; the dreamy descent into surrealism drifts through subversively glitchy progressions in the extended piece, which keeps you hooked into the artfully experimental beguile. If any soundscape on the LP will make a meal of your rhythmic pulses while vindicating your own insanity, it is this sonic gem. 

Track five, Saved, introduces some darker ambient industrial tones while still scribing the sonic signature that the preceding singles have allowed you to become accustomed to before Beautiful Chaos melodically exhibits the relenting capacity of awe in times of mass disillusion. With nuanced Eastern flavour worked into the kaleidoscopic rhythms, Timothy and The Apocalypse broke the monocultural mould to deliver his staunch fanbase from entropy.

Dreaming When You Hold Me could only be described as a leftfield electronica dream for the way the transcendence binds with the experimental gravitas permitted by the strobing synths, a sonic theme which continues through to track eight, Only You; the deliciously distorted soundscape is a meditation in tranquil obscurity.

By closing the LP on Nothing Forever, Timothy and the Apocalypse sealed the album’s fate, allowing it to resonate as one of the most seminal ambient electronica records of the year. It’s the ultimate audial space for reflection on all the instrumental introspection that preceded it. If you want to push the boundaries of your apocalyptic perception, take a dive – you won’t regret it. 

All Busted Up will officially released on April 14th; catch it on Spotify

Review by Amelia Vandergast

TIMOTHY AND THE APOCALYPSE SET UP A NEW INSTALLATION OF DOWNTEMPO DISENCHANTED CATHARSIS WITH HIS LATEST TRIP-HOP SINGLE, SHADOWS OF THE LOST

Watching the Sydney, Australia producer Timothy and the Apocalypse as he becomes a rare 21st-century success story with his cinematic indie beats that are shifting him ever closer to the million streams mark with his discography has been a sense of contentment in itself.

With soundscapes crafted for the end of the world, which effortlessly gel with your own despondence, the tranquillity within his downtempo trip-hop tracks offers a breeze of disenchanted catharsis. His latest single, Shadows of the Lost, is no exception. The wavy psychedelic aesthetic of Shadows of the Lost touches on the phenomenon of disconnection which is as steady as the beats in severing connections in our isolated age.

As the synthetic vocals drift in at the mid-point mark, as though they have appeared from a black-and-white film, they remind us that the control we believe we have over our lives is nothing but an illusion. Tony Robins may not agree, but given that he’s probably responsible for the clinical burnout and appeal of pyramid schemes for his fans, we’d like to hear him argue with this compellingly chilling exposition of the end days.

Amelia Vandergast

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