Bomb the Bass - Back to Light reviews
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| Pitchfork |
 For much of the 1980s and early 90s, Tim Simenon-- both under his own name and as Bomb the Bass-- worked his way up the UK producer food chain, through his work with Neneh Cherry and later producing Depeche Mode's Ultra. The troubled and trying DM album work apparently took so much out of Simenon that he spent several of the ensuing years recovering. In fact, Bomb the Bass went largely quiet after 1995's On-U Sound clash Clear, with no new album released until 2008's Future Chaos.
After a 13-year gap between previous Bomb the Bass records, the announcement of Back to Light was a slight surprise. The new record refines the Bomb the Bass relaunch with the addition of Gui Boratto as co-producer. On paper, this is just what Simenon needed. Bomb the Bass have rarely been about exploring the outer edges of dance music, and indeed the mundane Future Chaos boasted only the barest of nods to then-contemporary trends. Boratto, on the other hand, one of the stars of the Kompakt stable, is a savvy pick to bring Simenon up to date....full text |
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| Urb |
| My first experience with the music of Bomb the Bass (also known as Tim Simenon) was through Kruder & Dorfmeister’s masterful compilation, The K&D Sessions (1998), on a dub version of the track “Bug Powder Dust” with Justin Warfield (originally released on the magnificent and genre-defining 1995 album Clear). The work on Clear has a quality reminiscent of the musique concrète stylings of Pierre Schaeffer, which made it a remarkable and highly noteworthy album. His subsequent albums have always represented an evolution and departure from the preceding work, as if done by a completely different artists, and this explains how Simenon’s work has always found a superb depth through his varied musical interests–it’s probably because he spends a lot of time actually thinking through the music. Currently we find ourselves with the new Bomb the Bass project, Back to Light, a quick follow-up installment to his 2008 release Future Chaos. From the get-go the album announces itself through insidious emotive aural effects, which through a blistering barrage of time-travel sounds, encompass the listener in a feeling that although intense, evaporates rather instantly....full text |
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| Theskinny |
| Tim Simenon, former poster boy of the DJ sampling revolution in the 1980s, has reinvented himself under the Bomb The Bass moniker with each successive album. In fact, with 1995’s kaledioscopic Clear, he seemed to be morphing between each song. The thirteen year wait for follow-up Future Chaos brought consistency to Simenon’s palette and was no worse off for it. It’s therefore genuinely disappointing that a mere eighteen months later, Back To Light finds him breaking very little new ground. As the name suggests, it’s an altogether brighter and fresher sound, more an open-air, pre-Balearic rave than the dark, psychotic comedown we might expect. However, Back To Light finds it difficult to break out of the incessant, bubbling synth groove that Simenon nailed on Future Chaos, with consistency becoming formulaic this time around. Given the wildly differing gestation periods he operates in, we can only advise Tim to take his time in future. [Darren Carle]...full text |
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