Voyeur (Berlin album)
# Voyeur (Berlin album)

Voyeur is the fifth studio album from the American new wave band Berlin, released in 2002 by iMUSIC. It was the band's first studio album since 1986's Count Three & Pray, with singer Terri Nunn as the only original member of the new line-up.

## Background

Following the release of Count Three & Pray, the original Berlin split in 1987, but was revived by Nunn with a new line-up in 1998. With the arrival of new member Mitchell Sigman in 2000, Berlin began recording Voyeur in 2001. Originally, Nunn had planned to independently release an EP of new material, however the band then signed with iMUSIC who requested a full album. Speaking of the album's sound to Billboard, iMUSIC vice chairman commented: "It does not sound like an early-80s band trying to make a comeback. We heard the music and [believed] it was relevant and contemporary."

Voyeur was released in August 2002. To promote the album, iMUSIC focused on using the internet to "re-establish links with longtime fans while cultivating a new audience". Berlin embarked on a press and radio tour in September, followed by a series of live concert dates. In 2003, "With a Touch" was released as a promotional single in the US. In mid-2003, Voyeur reached No. 33 on the CMJ New Music Report's RPM Chart, based on the airplay it had gained.

## Critical reception

Professional ratings :

| Review scores ||
| - | - |
| Source | Rating |
| Billboard | favorable |
| Curve | favorable |
| PopMatters | favorable |

Upon release, Billboard described the album as a "continuation of its 1980s synth-hewn, new-wave beginnings" and a "welcome return", adding: "The group picks up its dance roots and signature vocals throughout Voyeur, particularly on such tracks as "Blink of an Eye" and "Drug"." Will Harris of PopMatters commented Voyeur "could well be the best work they've ever produced". He added: "The dance influences remain on Voyeur; in fact, the first two tracks, "Blink of an Eye" and "Shiny", are both potential floor-fillers." Curve described the album as "a mutation of Nunn's "No More Words" — steady pop vocals, a deeper edge to catch up with the times, and a multitude of layers: plugged-in guitar, dance-mix sequences and thick harmonies."

