1/ Made To Fire (Bomb) 5.17 2/ All My References Are Dead (Bomb) 4.19 3/ Love Fed Hate (Bomb) 4.50 4/ The Power of Suggestion (Bomb) 4.26 5/ Hey Richard (Bomb) 5.30 6/ There Is No Promise of a Future (Bomb) 2.58 In the Moment 7/ Hot Bloody Hearts (Bomb) 5.27 8/ Suzanne (Leonard Cohen) 6.05 9/ Goodbye Baby (Bomb) 5.14 10/ The Devil Is Us (Bomb) 6.24 Recorded at Greenpoint Studio, Brooklyn, New York Engineered by Robert Musso and Oz Fritz Assistant engineers: Imad Mansour and Paul Berrie Drum Tech: Artie Smith Mixed at Platinum Island Studios and East Hill Studios by Jason Corsaro Produced by Bill Laswell and Bomb Mastered by Greg Calbi at Sterling Sound, New York CityTony Fag: drums; Michael Dean: vocals, bass; Hilsinger: guitar, vocals; Jay Crawford: guitar, vocals.
1992 - Reprise/Warner Bros. (USA), 9 45036-2 (CD)Note: Bill Laswell does not play on this album.
Much of what Michael Dean & co. are about cannot be captured on tape (at least for those in a position to compare his live and recorded performances in previous incarnations of Bomb as well as early band Baby Opaque). Bomb's attitude in performance -- always bordering on chaos -- is too important to the effect. Despite having always been wowed by Bomb's live shows, I was surprised they were signed by a major label. I always thought they weren't "safe" enough to be marketable.
On the down side of Hate Fed Love, the band's arty pretensions produce outlandish lyrical excesses. Songs veer between depictions of lurid shock-rock decadence or suicidal disenchantment so dolorous they make Ian Curtis's musings seem sunny -- and understated -- in comparison. The lyrics often come off as overwrought and trite.
On the up side, despite Bill Laswell's production (which assures an emphasis on their metallic edge), the band maintain plenty of their decidedly skewed identity. Even at their worst, Bomb are worth multiple listenings.
Some songs here show marks of extraordinary inspiration, like "The Power of Suggestion," which combines a jagged, Black & White-era Stranglers guitar lead with Dean's giddy vocal hebephrenia; and "There Is No Promise," featuring a similarly jolting rhythm and drunk-on-the-apocalypse percussion. At such moments, you can see Bomb as the latest in a line of inbred and eccentric San Francisco geniuses.
Phil Pegg from Puncture Magazine, Spring 1993, Issue #26