Forty Five Minutes of Sonic Boom

Pete Kember's music in Spacemen 3 and afterwards as Spectrum, E.A.R. and Sonic Boom, sometimes looks like one long blissed out haze of analogue synths, shimmering waves, drones and endless repetition. Nothing wrong with that. His back catalogue has a wealth of songs, albums and remixes. The three quarters of an hour below contains nothing from his 1994 masterpiece Highs, Lows And Heavenly Blows, a treatise on meditative, tranced out, hypnotic guitar and synth drones with Sonic's trademark lethargic vocals, and that's solely because I don't have any of the songs from it in digital format. Pete currently lives in Sintra, Portugal which is clearly good for his work rate- he's released two new albums since 2020 and toured to promote them, along with last year's album with Panda Bear, as well as producing albums by Cheval Sombre, Beach House and Moon Duo. 

Forty Five Minutes Of Sonic Boom

• Tremeloes
• True Love Will Find You In the End (Alternate Version)
• How You Satisfy Me
• Just Imagine
• The Horizon (Sonic Boom No Drums Version)
• Almost Nothing Is Nearly Enough
• Frozen (Sonic Boom Mix)
• Warmth Of The Sun (Sonic Boom Remix)

Tremolos and True Love Will Find You In The End were both released as Spectrum in 1992, the former a four minute wobbly, two note drone and the latter a gorgeous cover of  Daniel Johnson's most well known song. They were also on a 1997 compilation called What Came Before After which is where this version of True Love Will Find You In The End is from. 

How You Satisfy Me is from 1992's Soul Kiss (Glide Divine), an album that came with a translucent, liquid sleeve. Rare and expensive second hand and prone to bursting/ degrading. 

Just Imagine was the lead song from 2020's All Things Being Equal. Almost Nothing Is Nearly Enough was a follow up a year later, with a remix of Just Imagine and some new songs.

The Horizon is by Sinner DC, a Swiss ambient/ electronic/ drone group who have made a dozen albums since the 1990s.

Frozen, not from the Disney film about a snowman of the same name, is by The Insect Guide, a duo from Leeds who formed in 2005 and released two albums between 2007 and 2010.

Warmth Of The Sun is by Pye Corner Audio from last year's Let's Emerge album, a track with Andy Bell on guitar. Sonic Boom remixed three of the songs for an EP titled Let's Remerge.  

200 Bars

Yesterday 200 miles, today 200 bars. On Spiritualized's debut album, 1992's Lazer Guided Melodies, Jason closes an hour's worth of pain and beauty, spaced out symphonies and gliding garage rock, with 200 Bars. Over waves of organ and chiming guitars Kate counts from 1 to 100, the bars (musical) and bars (drinking) word play driven home as Jason starts singing/ whispering, 'I'm gonna lose my thoughts in 200 bars/ You know I've tried but now I'm tired/ I'm losing track of time in 200 bars'. The music comes to a stop and Kate closes things with, '200'. 

200 Bars

In the same year, Jason's erstwhile bandmate Pete Kember, was moving on slowly as Sonic Boom/ Spectrum. Soul Kiss (Glide Divine) came out that year on translucent vinyl in a liquid sleeve. The ten songs housed in that liquid sleeve find Sonic in an even more dreamy, drifting spaced out place than Jason. Tranquil, dappled, blissed out, waves of sound.

Waves Wash Over Me

Sonic Boom In The Pink Room

Sonic Boom played The Pink Room at YES, Manchester's newest gig venue, on Wednesday night in a small upstairs space called the Pink Room (it's painted pink and has a bit of a Warhol/Factory vibe going on). The room holds about 250 people and the gig wasn't sold out. The post- Spacemen 3 trajectories of Pete Kember and Jason Pierce are a bit mystifying, Spiritualized playing grand venues to thousands while Sonic Boom/Spectrum plays to the low hundreds. It gives a better gig experience though if you prefer intimate and up close but you can't help but feel Pete has been shortchanged somewhere along the line.

Sonic takes the stage with one other musician, a guitarist with long, centre parted hair who is wearing a Spacemen 3 t-shirt. Without much in the way of introductions he begins playing the riff to Transparent Radiation, Spacemen 3's cover of The Red Krayola's 60s psyche- rock classic. After this slow, repetitious opener Pete doesn't play guitar again until the end, instead sitting at a table with keyboards, synths, a sampler and an array of pedals, cables, leads and plug ins. From hereon in Sonic digs deep into his bag and plays a selection of songs from his back catalogue- long, slow, hypnotic tracks, loops and drones from the various boxes on the table, all sorts of delay and echo going on. One song often melts into another, the pedals continuing to give out their sounds, loads of tremelo and wobble, as one ends and the next begins. We get All Night Long and Lord I Don't Even Know My Name from two different Spectrum albums, Spacemen 3's Call The Doctor and Let Me Down Gently, all perfectly illustrating Sonic's talents, lyrics that are either melancholic or devotional over the top of undulating synths and waves of sound, drones and loops and repetition. There's no drummer so the songs never get that injection of oomph and power a drummer brings, instead they glide by complemented by the trippy visuals projected onto the back wall. In the middle of the set Sonic starts manipulating a vocal sample. The set list website says this was during I Know They Say (from Spectrum's Highs Lows And Heavenly Blows) but I don't recall that song being the basis of what becomes very improvisational, Sonic constantly triggering the vocal sample, stuttering it, repeating phrases, building in intensity on and on, for what must have been ten or fifteen minutes. He goes back to the guitar for the penultimate song, a fairly blistering take on Suicide's Che. Pete then tells us something along the lines of 'this is where we fuck off back stage for a few minutes, you clap and then we come back out but that's bollocks so we're just going to keep playing'. He fiddles with a few boxes, sets them going for a finale of Big City (Everybody I Know Can Be Found Here), the highlight of Spacemen 3's Recurring album and the band's last single, Sonic's psychedelic, acid house influenced peak- the pedals and synth pumping the song out, the guitarist using an e-bow to play the top line  and Sonic leaning in to deliver and repeat the lines, 'everybody I know can be found here/ let the good times roll/ waves of joy/ yeah I love you too', for fifteen blissed out, mesmerising minutes. Waves of joy indeed. I wish he'd tour more often.

This is the ten minute version of Big City from back in 1991, still sounding magnificent nearly thirty years later.

Big City (Everybody I Know Can Be Found Here)

And this is a 1992 single by Spectrum, also off their album Soul Kiss (Glide Divine) out the same year.

How You Satisfy Me

When Tomorrow Hits

I'm going to see Sonic Boom play next week in his Spectrum guise, which I'm really looking forward to. I recently discovered this album, Indian Giver from 2008, recorded by Sonic (Pete Kember) and legendary producer Jim Dickinson (appearing as Captain Memphis)- a man for whom the word legendary is fully deserved. On Indian Giver they revisited Spacemen 3's cover of Mudhoney's When Tomorrow Hits and it is all you need for this Wednesday morning, two chord, Stooges-inspired, fuzz rock par excellence, a song going off like a slow explosion.

Monday's Long Song

Not sure any words are needed to go with this piece of music from Spectrum in 1994, one of Sonic Boom's post-Spacemen 3 masterpieces (from the album Highs, Lows And Heavenly Blows). If you like loops, space echo guitars, phasing and a general, gentle sense of being set adrift, this is for you.



If you'd like something more abstract, just ten minutes of wobbly drones then this one from 1993 may be your cup of tea.

Ecstasy In Slow Motion