Albums

Album Review: Bomb The Bass

[Album: Future Chaos]
[Label: !K7]

Now, when I got into writing for SonicDice, I imagined that the material I would get to review would be at best, small time artists, trying to make their mark on smaller or newer reviewing sites to gain a slow but steady critical success. However, it never crossed my mind that I would have the privilege, no, the honour, of reviewing this album. Bomb The Bass, was formed in 1987 by the then unknown Brixton-based producer Tim Simenon.

The project’s first single Beat Dis enjoyed unprecedented success as it rose to #2 in the UK Singles Chart then single-handedly ushered in the dawn of DJ Culture overnight. It also earned Simenon a splash on the cover of NME and was responsible for the most iconic image in the world of dance music. I am of course talking about “The Big Yellow Smiley Face” that is so readily associated with Rave and Acid House music that was booming in the late 80s-early 90s, thanks to the birth of Madchester and the creation of The Haçienda via the legendary Tony Wilson. Bomb The Bass is truly one of the most important artists in the history of music and I have the upmost respect for the work Simenon has done in the past.

‘Future Chaos’ is the fourth studio LP from the project and its first LP released since ‘Clear’ in 1995. Including guest vocals from Jon Spencer, Mark Lanegan, Fujiya and Miyagi’s David Best, Toob and Paul Conboy this release promises to be a pulsating rollercoaster of neon-juiced bassline goodness. Sporting only nine tracks, from a first glance it seems slightly thin, but taking into account that the majority of them break the 5-minute mark, it easily surpasses the feeble length of many of today’s indie band’s attempts.

The opening of this bass-driven sonic entity is given to Smog featuring vocals from Paul Conboy, who also contributes to four other tracks. I immediately had to turn “down” the bass upon the outset purely because it’s slightly unexpected and, even though I now have the benefit of hindsight, the artist is called ‘Bomb The BASS’ and it still is quite a shock to the senses. I wouldn’t say it’s an unwelcome one, but personally 50Hz of solid bass isn’t the best way to announce your return to the battlefield. It appears Simenon doesn’t play by the rulebook, he writes it.

‘Butterfingers’ is without a doubt the best track lyrically on the album and features the conjoined vocal talents of Fujiya and Miyagi. It’s also the best-composed as well, the lead pads and backing synths on top of the rumbling bassline are simply startling. Following on into two tracks, of similar style and lyrical content, that break up the start and middle to the album well, but they both lack a real punch and I’m not really drawn to the repeat button on either. ‘Burn The Bunker’ starts to edge towards gabber in the middle and the lead pads are screechy at best.

The one thing I’ve found over the last week is that, along with a tasty bacon sarnie and a glass of cranberry juice, fifth track ‘So Special’ is the perfect remedy for a hangover and it really sets you up in a positive way for the rest of the morning or afternoon or whenever you do decide to leave your pit. The beat is decisive but never overbearing and the lyrics are subtle yet calming, what is up next however, is a whole different kettle of fish. ‘No Bones’ opens like one of those really annoying bank or insurance commercials (like the really fucking annoying Lloyds TSB Train one) with that woman’s “ha hoi ha ha ha ha, ha-ha-ha, ha ha ha ha.” Only this track isn’t annoying, it’s rather soothing, fulfilling and it really flows well into the vocals of Paul Lanegan on ‘Black River’ where the ending of the album begins to strum and one last roll of the bassy dice lands on six. Lanegan’s voice is very reminiscent of Johnny Cash after a few whiskeys.

The mic is then thrown back to Conboy for one last time on ‘Hold Me Up’ building the ending, much like classical crescendos in a film, before Jon Spencer joins forces with Simenon for the nuclear ending on ‘Fuzzbox’. This track has everything that every other on the LP entails, a pure adrenaline rush of synthetic bass tunes and grease-laden synths; I could get lost for months listening to this album, I really could.

One thing that’s really impressed me with this album is how conjoined it is with the current scene, and the way dance music has evolved over the last 18 months. The majority of this album screams originality to me and it’s been a thoroughly enjoyable listen from start to finish. Don’t expect it to encourage, euphoria or heighten your senses under the influence of Special K; just give it your well-tuned ears. The only disappointment for me was where the opening three tracks packed a really heavy punch and so did the middle, the last few tracks minus the ending felt misplaced; almost as if the album isn’t an epic journey into the distant universes of other dimensions, but more just a collection of the best songs Simenon has produced over the past two or three years. Either way, this is still a cracking release from a man who started it all. Bomb The Bass will always have a place in the dance music hall of fame for me. Simenon got it right when he described the album as “Electronic music with soul.”

For Fans Of: Hybrid, Elite Force, Massive Attack

Band Link:
Bomb The Bass

Butter Fingers Video

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