Release Date: Mar 2, 2010
Record label: !K7
Tim Simenon must have been energized by his return to the record ranks with 2008's Future Chaos, because he went right back to work and emerged barely 18 months later with Back to Light. It's obvious from the beginning here that this isn't meant to be part two of Future Chaos, or just the left-behinds from that solid album. It's a vital record that charts a completely different direction, one that's less innovative and more mainstream than Future Chaos, but succeeds nonetheless because of its match of Simenon with ace techno producer Gui Boratto, whose work for Kompakt has made him one of the brightest tech-house producers of the 2000s.
After over a decade in the wilderness, [b]Tim Simenon[/b] – the twisted brains behind [b]Bomb The Bass[/b] – returns with his second album in less than two years. Any doubts that this newfound prolificacy may have quelled his quality control are extinguished by shimmering opener [b]‘Boy Girl’[/b], which flickers in and out of focus like the most seductive of strobe lights. [b]Richard Davis[/b] meanwhile compensates for the absence of a ‘star vocalist’ with his sombre turn on [b]‘Price On Your Head’[/b], intoning [i]“Keep on going/There’s a price on your head”[/i] as if being slowly drained of his serotonin.
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.
The main goal of Back to Light is evident right from its very title. After a 13-year hiatus, Bomb the Bass’s 2008 album, Future Chaos, generated quite a bit of excitement. It was a major disappointment, though. Mainman Tim Simenon’s sharply produced, club-savvy sound was replaced by uninspiring analog squawk and general mope.