Cheval Sombre is a band that I see a lot in forums and whatnot online, but I have yet to really sit down and give them a good listen. When I saw this album, Time Waits For No One (feat. Sonic Boom) (2021), come across my Apple Music dashboard, I almost immediately added it to my queue. Peter Kember, also known as Sonic Boom, was one of the founding members of Spacemen 3, which was a sort of noise/experimental/space/psychedelic rock band from the 80s that I really enjoy. Plus, one of the first things that I noticed about this album after looking it up, was that it also features Dean Wareham of Galaxie 500, Luna, and Dean & Britta; the combined discographies of those groups span from the late 1980s up to the present day, and I’ve very much enjoyed listening to those Dean Wareham groups. Cheval Sombre is the stage-name of the singer/songwriter and poet from New York, Chris Porpora. This particular album is his first solo release since 2013, and his fourth solo release in total. I’m pretty excited to give this album a listen, so with that said, I’m going to jump on into the music.
“It’s Not Time (feat. Sonic Boom)” starts out with some bright drones that almost sound like organs that gradually fade in alongside some very gently moving acoustic guitar, which combine for a very serene start to this album. The vocals have a really interesting reverb to them, which almost is like each word is gently dropped into a peaceful pond and the ripples from the drop traverse the soundscape. The soundscape nearly has a serene space-like sound at the end of the track. Great tune, and I’m excited to hear more.
Oh wow, “California Lament (feat. Sonic Boom)” starts out with a layering of what seem to be an electrified acoustic guitar, with a psychedelic tremolo effect on the electrified portion, while the acoustic playing is on top gradually moves the soundscape along in a sort of modern folk-like style, though it’s entirely possible there are two distinct guitars layered together. Oh wow, there are some really interesting synth and keyboard effects in the soundscape that seem to gradually carry the soundscape into space. The guitar actually reminds me of Fred Neil’s “The Dolphins” from Neil’s self-titled 1966 record. The spacey synth and keyboards very much remind me of Pete Kember’s solo work, as well as some of Spacemen 3, and even verges on Jason Piece’s sound from Spiritualized when the guitars are added in. Wow, great track.
“I Could (feat. Sonic Boom)” starts out with some spacey drones that seem to gradually fade in and intensify, and soon some sweet acoustic guitar comes in. Oh wow, I really dig the tremolo of the electric guitar that complements the far-out, nearly experimental drones in the soundscape, while the acoustic guitar gently continues flowing on. I’m actually reminded a lot of Diane Cluck’s intuitive folk style in the general flowing of the song. Wow, great track.
“Time Waits For No One (feat. Sonic Boom)” starts out with some really sweet, gradually flowing acoustic guitar, while some far-out synth-sounding effects seem to bubble up from the background. I really dig the ethereal style of the vocals, which seem to reverberate throughout the soundscape in such a way that they seem to continue forever. Oh wow, there’s a really sweet keyboard effect that I really dig that almost has a bit of a sitar, raga-esque sound that gradually comes into the soundscape. I really dig the melody that comes in from another acoustic guitar. I’m very much reminded of Dean Wareham’s self-titled album from 2014 in this track. Oh wow, as the track continues the music seemingly carries you further and further into the ethereal plane. I’m almost reminded of some strange combination of Anton Newcombe/The Brian Jonestown Massacre combined with “Tomorrow Never Knows” by The Beatles, and I’m very much digging the resulting sound. Holy smokes, the ending of the song somehow has intensified in such a gradual way through the flowing of the acoustic guitars and synths yet still comes to a crescendo of sorts that I’ve been brought even further onto the edge of my seat. Wow, awesome track.
Oh wow, “Dreamsong (feat. Sonic Boom)” has a serene feeling between the light tremolo effect of the guitar playing alongside what sounds to be a sweet violin at the start of the track. I really dig the way the violin seemingly melds with what sounds to be a synth; the resulting combination has something a classical futuristic folk sound, and sort of reminds me of the HBO series, Westworld. Wow, great track.
“Had Enough Blues (feat. Sonic Boom)” starts out with some big-sounding, yet gentle vocals that sound like they’re being sung very carefully. Oh wow, some high-pitched, sweet synth/keyboard notes come in and are followed quickly by a very deep, droning bass. Much like the rest of the album, the resulting soundscape in this track is quite serene. There’s almost a bit of somber undertone in the vocals for a bit. Holy smokes, there are soundbites from dystopic news clips that really send home that somber undertone as the track comes to a close. Wow, great track.
“Been a Lover (feat. Sonic Boom)” gradually fades in with some really sweet, somewhat spacey drones that remind me a lot of Peter Kember’s solo work that I’ve listened to in the past. I really dig the flowing sounds from the acoustic guitar chords in this track alongside the experimental-ish droning. Holy smokes, the acoustic guitar starts playing some super groovy blues licks while a reversed instrument of some sort adds some sort of raga flavors in the background. I’m really digging the guitar work in this track. Wow, great song.
“Curtain Grove (feat. Sonic Boom)” gradually gets flowing with a combination of sweet, flowing acoustic guitar, and what sounds to be a tremolo’d electric guitar in behind the acoustic guitar, creating a really groovy sort of neo-psychedelia that I’m really digging. Oh wow, some super bright synths gradually fill up the soundscape as though they’re somehow guiding you through the cosmos. Wow, super sweet track.
“Hitch a Ride (feat. Sonic Boom)” started with a really interesting electric guitar that seems to have both a reversed effect and a tremolo effect on the instrument, and soon after some far-out synths and some sweet acoustic guitar join in as well. Oh wow, there’s a massive bass drum that comes into the soundscape as though it’s the heartbeat of the universe. The soundscape sort of reminds me of somewhat spacey, far-out, psychedelic folk style of “Doctor Morphine” by Aske Skat and his Psychedelic Country Band. Oh wow, I’m really digging the combination of the synths, guitars, and the bass drum in this track. The flavors from the melody played by the somewhat distant acoustic guitar during the outro has somehow pulled me further into the listening experience, even as the song comes to an end. Great track.
“No Place to Fall (feat. Sonic Boom)” starts out with some super sweet and bright swirling organs with a really sweet reverb, and is quickly joined by some flowing acoustic guitar and some deep, self-assured-sounding vocals that I’m really digging. Wow, this track seems to gradually ramp up as a strong snare and a big and low bass guitar come into the soundscape, as though bringing the track, and the album to a super sweet crescendo before the music gently fades away in a manner that’s at least as serene as the start of the album. Great track, and a great way to end the album.
Holy smokes, this album was awesome. I already know that I’m going to check out the rest of Cheval Sombre’s discography, and I’m hoping I might be able to pick up this album on vinyl. There’s a good chance that I’ll listen to this album again in the coming week. If you’re a fan of Dean Wareham, Spacemen 3, and/or Spiritualized, and/or you enjoy serene psychedelic/neo-psychedelic folk or singer/songwriter music, then you might want to consider checking out this album. If you do decide to give this album a listen, then I sincerely do hope that you enjoy the listening experience at least as much as I did.
-A