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timothy and the apocalypse

‘Serial Admirer’ is Timothy and the Apocalypse’s technology-bound postcard from Japan’s atmospheric weather

Posted on 2 October 2026

Timothy and the Apocalypse took his ever-expanding audience on a juxtapositional tour of Japan with his latest single, Serial Admirer. Released via Rotate Sound, the track finds Australian electronic artist, producer, photographer and visual artist Timothy Poulton translating the metropolitan momentum of Tokyo and the mist-covered serenity of Lake Ashi into melodic electronica that feels more remembered than recreated.

Refusing to cheapen his connection to the atmosphere of the city and mountainscapes with cultural appropriation, Poulton taps into the energy of the spaces he explored. Tokyo becomes rhythm, repetition and movement; Hakone becomes space, water, mist and suspended breath. His leftfield breakbeats become a conduit to those contrasting atmospheres, while the hypnotically enthralling synthesised textures carry the emotional pressure of place without ever resorting to decorative shorthand.

The release’s visual identity came from Poulton’s own images of the torii gate at Lake Ashi, fragmented and layered until the photograph became less literal landscape and more memory caught in distortion.

Fresh from coverage via international outlets including Magnetic Magazine, EARMILK, Stereofox and NME, Timothy and the Apocalypse deserves his dues for this alchemic approach to production. Serial Admirer is technology-bound, atmosphere-drunk and inventive enough to leave chills down your spine.

Serial Admirer is now available on all major streaming platforms, including Spotify.

Review by Amelia Vandergast

Timothy and the Apocalypse Bottles Utopia in Nothing Sweeter Than

Posted on 1 March 2025

Timothy and the Apocalypse poured the nectar of utopia into Nothing Sweeter Than, his latest indietronic evolution that visualises the bliss of irreplicable connection. A collaboration with Netherlands producer Erik Buschmann, the track forces reflection on the beauty of finding solace in another soul—finding fulfilment in a world intent on leaving you empty.

Known for cinematic electronica and hypnotic downtempo beats, the Australian producer fused his signature sound into something even more immersive. Indie-esque basslines pulse against frenetic breakbeats, while angular shoegaze guitars pirouette around seraphic vocal lines that reprise the title like a hypnotic mantra, resulting in an atmosphere thick with transcendence, striking the balance between ambient trip-hop’s dreamy introspection and indie electronica’s euphoria.

A striking visual identity runs through the release, not just in the official artwork—designed in response to a passionate fan’s vision—but in the way Nothing Sweeter Than captures the feeling of interpersonal nirvana. Whether soundtracking late-night solitude or peak festival moments, the track pushes boundaries while staying true to the expansive emotional charge Timothy and the Apocalypse has mastered.

Nothing Sweeter Than officially dropped on Valentine’s Day and is now available on all major streaming platforms, including Spotify.

Review by Amelia Vandergast

Timothy and the Apocalypse channelled serenity into electronic emotion with ‘Say Something’

Posted on 30 January 2025

Timothy and the Apocalypse has built a reputation for composing cinematic electronica infused with intimate depth. With Say Something, now available on all major platforms after its launch on January 24th, the Sydney-based producer transcends his already impressive esteem. Crafted in the serene, off-grid hinterlands of New South Wales, the single pulls the tranquillity from the studio’s surroundings into the exposition of the raw complexities of love, vulnerability, and human connection.

The track spares all semblance of complacency as it unravels as a progressive revelation. After a sequence of trip-hop-tinged downtempo beats and subtle new wave synth-pop textures that shimmer with a syncopated vibrancy, much like the lineage of a relationship, the single evolves, taking unexpected turns to introduce everything from rock riffs to minor-key piano lines ache with quiet introspection to Sci-fi nuances which hover at the edges, amplifying the song’s otherworldly warmth and emotional resonance.

Each layer serves a purpose, building towards a heartfelt plea for connection, delivered without the weight of excessive demands. Poulton’s ability to balance tension and tranquillity creates a sonic panorama that won’t fail to inspire reflection and extend sonic solace.

With Say Something, Timothy and the Apocalypse reminds us that even within the intricacies of modern electronica, there’s space for tenderness and humanity.

Stream Say Something on Spotify now.

Review by Amelia Vandergast

Timothy and the Apocalypse took his listeners to alt-electro ‘Nirvana’ with his latest release

Posted on 15 September 2023

The Australian alt-electronica augmenter Timothy and the Apocalypse took his sound to new celestial heights with the release of his latest single, Nirvana; the merit of it is almost enough to dissipate the synonymousness between Kurt Cobain and the track title.

With the opening vocals resounding with a spiritually ceremonial timbre across the lush layers of reverb, the artist and producer set the bar transcendently high from the intro, and still managed to rise above it with the shoegazey dream-pop guitars which bring introduce the solid backbeat that affixes a strong gravitational pull to the ever-ascending melodic lines.

Midway through the track comes a euphoric uplift, which defies all expectations of Timothy and the Apocalypse. Since 2021, he’s held dominion over the ambient trip-hop scene and dominated the associated playlists. With Nirvana, he broke new ground by progressing his new release into a track that could fill a floor and rhythmically drive it into fervour. Amalgams of IDM and deep house don’t come much more electrifying than this.

Stream Nirvana and the THOLEMOD Remix, which hit the airwaves on September 8th via Spotify.

Review by Amelia Vandergast

Timothy and the Apocalypse’s Love in Stereo Remix will leave you in a euphonic utopia

Posted on 23 August 2023

Timothy and the Apocalypse’s most popular single to date, Love in Stereo, which has racked up a quarter of a million streams on Spotify to date and worked its way into seminal chillwave, deep house delight and electronic chillout playlists, has been masterfully reworked by the electronica phenomenon in his own right, Erik Buschmann.

With the dark and nuancedly despondent glitchy elements dialled back to make way for the more transcendently deep textures (it’s a paradox, we know), the new reworking delivers a dreamy new universe of depth that will leave you as high as the ever-ascending melodies.

If it weren’t the ethereally reprising whispers of ‘our love is in stereo’ bringing you back down to amorous earth, you’d be forgiven for thinking you’d ventured into a celestial videogame with a cathartically directive soundtrack when you hit play.

The Erik Buschmann Remix hit the airwaves on the 18th of August; stream it on all major platforms, including Spotify.

Review by Amelia Vandergast

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

Posted on 19 April 2023

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 release on April 14th; catch it on Spotify & SoundCloud.

Review by Amelia Vandergast 

 

Timothy and the Apocalypse orchestrated an intimately nyctophilic haven with his downtempo drum and bass hit, Late Night Call

Posted on 1 February 2023
Timothy and the Apocalypse

The latest installation of sonic transcendence, Late Night Call, from the Sydney-based sound designer Timothy and the Apocalypse, is one that you will want to answer.

Capturing the after-dark glow, the downtempo drum & bass spilling of synaesthesia extends the atmosphere of metropolitan twilight, defined by the ambience of streaming taillights and the idealized atmosphere which breeds intimacy and romanticism. For anyone who fails to find sentimentality under the harsh light of day, Late Night Call is the ultimate inky soundscape. Nyctophiles, have your fill.

Check out Timothy and the Apocalypse on Spotify and SoundCloud; find out more about The Time Meddler via his official website.

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

Posted on 22 December 2022
Timothy and the Apocalypse

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.

Shadows of the Lost will officially release on December 22nd. Pre-save it here.

Review by Amelia Vandergast

End credits roll for humanity in Timothy and the Apocalypse’s latest alt-electronica release, Ready for the End

Posted on 29 September 2022

For his latest single, Ready for the End, the epochal producer Timothy and the Apocalypse collaborated with the LA-based singer-songwriter 9 Theory to rekindle their alchemic chemistry for the third time.

The end credits for humanity roll in the soulfully sombre timbre of the single, which entwines lament with the last light of humanism that shines through the jazzy complex time signatures. As existential as it may be to consider the demise of everything that you’ve ever known, Timothy and the Apocalypse offers a placative and meditative reprieve from the anxiety in the form of Ready for the End. There is a reason why 46k listeners are glued to his discography. Hit play to find out why.

Ready for the End is now available to stream on Spotify.

Review by Amelia Vandergast

Drift back to the 90s rave era with Timothy and the Apocalypse’s latest forewarning release, Strange Tide

Posted on 30 August 2022

I never need all too much convincing to evade modernity and drift back into the relative comfort of the 90s; Timothy and the Apocalypse’s 90s rave-inspired release, Strange Tide, made taking an aural trip back across the decades all too irresistible.

Beyond the swelling progressions, crafted for filling floors and drinking in metropolitan landscapes in the twilight, there is a subtle reminder that you can only swim against the tides of narcissism for so long before you get pulled under by the self-serving currents.

With his fourth full-length album, All Busted Up, in the pipeline, there has never been a better time to indulge in Timothy and the Apocalypse’s electronica escapism.

Strange Tide is now available to stream on Spotify.

Review by Amelia Vandergast