Rock/pop

The Irish Times - Friday - The Ticket - - MUSIC - JIM CAR­ROLL JIM CAR­ROLL

CHAR­LIE BOYER & THE VOYEURS

Cla­r­i­etta Heav­enly In an ideal world, Char­lie Boyer & The Voyeurs would ex­ist in that mono­chrome early 1970s New York land­scape of Tele­vi­sion, CBGBs and hard­chaws on the Bow­ery. But that was then and this is now, so the Lon­don­ers’ chief con­cern is to en­sure a rugged, ragged kind of au­then­tic­ity and in­di­vid­u­al­ity rather than a pasted-on pas­tiche of Tom Ver­laine’s great­est riffs. Ed­wyn Collins and Seb Lewsley’s pro­duc­tion helps hugely in this re­gard, turn­ing the band’s sharp gui­tars and swirling or­gans this way and that in pur­suit of some­thing more than the Blank Gen­er­a­tion. In their best songs the band side­step the ob­vi­ous and find new thrills in the kinks, es­pe­cially on the ex­pertly con­structed Go Blow a Gale, the mag­nif­i­cent thump and bang of I Watch You, and the sub­lime or­gan-led rum­pus of Be Glamorous. Face­book.com/char­lie boyerandthevoyeurs Down­load: I Watch You, Be Glamorous

MAR­QUES TO­LIVER Land of CanAan

Mar­ques To­liver’s back-story reads like the work of a flow­ery fic­tion writer. A clas­si­cally trained vi­o­lin­ist who turned to busk­ing, To­liver was dis­cov­ered first by TV on the Ra­dio and then Bella Union’s Si­mon Ray­monde, lead­ing to love, ac­claim and walk-on parts from Adele, Griz­zly Bear, Bat for Lashes and Jools Hol­land. His de­but al­bum, though, doesn’t pos­sess quite the same colour or nar­ra­tive, To­liver’s vi­o­lin-led, soul­ful cham­ber-pop is in­ca­pable of sus­tain­ing enough notes of dis­tinc­tion through­out. A pity: To­liver’s fond­ness for re­cast­ing soul and r’n’b is cer­tainly a fine idea, though his strung-out ap­proach to the task tends to re­sult in bland pas­sages of sound (the overblown Weath­er­man a case in point). To­liver is at his best when he keeps things pared back and sparse, as on Rep­e­ti­tion. mar­questo­liver.com

Bella Union

Down­load: Rep­e­ti­tion

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