Charlie Boyer & The Voyeurs – Clarietta

Part ’70s art-punk, part garage rock and part ’00s guitar revival-revival, Charlie Boyer & The Voyeurs have clambered to the top of the six-stringer buzz-pile. Leapfrogging Swim Deep and Merchandise (who, given, are still in the midst of crafting their respective debuts), Boyer & Co. have been wowing many a muso with their consistent, nostalgic harking back, not to mention the oodles of fuzzy guitar riffs. Early tracks like ‘I Watch You’ and ‘Things We Be’ were instantly ear-catching, showing the soon-to-be displayed potential of Charlie Boyer and The Voyeurs. Now, with Clarietta - the first full-length from the London quintet – we are finally able to find out if they manage to live up to the fuss that surrounds them.

The title track recalls archaic punk wonders, the kind of old-school disco tracks that creep out of the walls at weddings. At times there’s a splatter of britpop tautness, and occasionally, references to The Strokes or The Libertines (and other bands from back when Pete Doherty wasn’t a joke) rear their heads. For all their ’70s NYC influences, it’s remarkably British. However, cuts like ‘Be Glamorous’ or ‘You Haven’t Got A Chance’, do lean towards the States. The former is swaggering blues-rock with organ riffs and chunky chords; the latter wears hints of Iggy Pop (though Boyer is considerably more restrained, and the guitars much more lethargic).

Clarietta is produced by fabled legend Edwyn Collins, a man of many musical talents, behind records from The Cribs, Vic Godard, who CB&TV have been likened to – as well as The Seeds, Television and The Voidoids. This raw, scratchy brand of modern rock led them to a support slot with one of last years buzz bands, TOY, and the kind exposure that can be measured in Facebook likes and hits on YouTube. They may be unashamedly channeling the sounds of yesteryear, but contemporary rock fanatics and post-punk aficionados are lapping it up like it’s never been done before.

‘A Lion’s Way’ reveals a different side to the group, one that’s steeped in psych-pop warps and ghost-train echoes. It’s sodden with reverb and similar effects – there are moments where you could be forgiven for hearing shoegaze sounds, but on the whole, and especially when the chorus hits, it’s glammy pop with a tie-dyed glaze. ‘Clarinet’ is scummier, with a tangled, throbbing chorus made from slowed-down and distorted axe licks. It’s got a punk vibe, but none of the furore, and none of the belligerent instrumentation. It’s quite happy to be messy, but it’s all very apathetic, which is great.

Charlie Boyer & The Voyeurs have crafted a solid debut. There’s plenty of charm, and though a lot of it has been beaten to death with a revivalist stick before, it’s still a really fun record. Their take on the genre isn’t enough to reinvent the wheel – it’s more like a new coat of paint. The noises are hand-plucked from rock history, dusted off and shown to a new audience. Fortunately, they’ve chosen the best parts to display, and the result is an album that’s thoroughly enjoyable, if a tad on the safe side. No doubt we’ll hear more from the group, and when we do, they’ll be welcomed with open arms.