One time once I spoke with the rather elusive Timber Timbre and he was telling me back then that once he would dig through crates and explore particular sounds from particular eras. Mostly what made them so. He’s been on a tear since.

Working though decades as he worked out albums. The Fifties, the Sixties, the Seventies and I’m thinking this new album, on Arts & Crafts on Apr 7, may just be his best ever and I’ll says its because he’s hit the Eighties but also because he has kept on creeping on over the racks and crates, the thin spines of the music, slipping them under his arms for late night musings in locked towers. He is a man with a plan regardless of what gifts and trinkets are proffered to distract. He's a missionary, a visionary, a voyageur and an artist on this one.

Sure there is always the eerie cinematic overtones, its what makes Timber Timbre Timber Timbre but this new album “Sincerely, Future Population” adds the uneasiness of the automaton into his other-worldy swampy outside.

The songs revel in Kraftwerk, Ultravox and Tangerine Dream but also the pop-chart leanings of Bowie, Hall and Oates, Phil Collins and Beverly Hills Cop. Its all in the tweaky whirring synth-y floppy-disced programmed beats and sweeping sonicscapes of wide-eyed awe. Its as if the Timber Timbre are approaching these stained-cream coloured instruments in a vacuum of history, not recreating their fab faves from the era but following the tech itself into similar creations both alternative and chart-driven as it was then and there. Of course Taylor Kirk’s cedar shacked vocals are the menace even in the lighter efforts.

The Timber Timbre stepped out of the forest with memories of a slight beast, who could turn man into a cannibal. Over his early albums he gave it a soundtrack but the Windigo of Future Pollution is the ghost in the machine and Kirk and his pals have let IT out.