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 Casimir  Jeu Mai 08, 2008 12:22 pm
 

Jasmin a écrit:
In this review, it doesn't suck being her !!
http://www.inthemix.com.au/music/37717/Camille_Music_Hole


Citation:
The only let down of the album is the final track” a saccharine, by-the-numbers American-style ballad in Sanges Sweet . However my advice is to simply delete this from your iPod and enjoy the intelligence, talent and originality of one of pop’s true modern wonders.

My advice is to delete GWNL, Cats & Dogs, Winter's child and Sanges sweet, so you avoid irritating screams. Then the album becomes bearable (and even sometimes pleasant!).
 
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 Casimir  Ven Mai 09, 2008 10:16 am
 

An excited review here

Citation:
With music ever splintering into a thousand new genres a minute, all advocating their unique and challenging innovation, maybe the most challenging and experimental is a genre older than music itself, that of the simple human voice. For if you can lay structure, texture and melody down through our own natural voice and rhythms, without relying on made-for-purpose instruments, what’s more experimental than that? But of course, that’s not something we like to talk about these days. And you can lay the blame square at the bouncy, happy feet of just one man, Mr. Bobby “Don’t Worry” McFerrin.

Ever since McFerrin released “Don’t Worry Be Happy” and turned the wonder and magical ability of the human voice into a cartoon pastiche, a capella has been in a bad way. In any record store where you are fortunate to find an a capella section you’ll see the same scene. Prospective buyer wanders over noticing interesting section; vision of a giddily-happy McFerrin clouds judgement; buyer winces and moves on. Case in point: The Recorded A Cappella Review Board (RARB) (yes, such an organisation exists), has reviewed 788 a capella records since 1994. Tell me, how many of those did you run out and buy?
cover art

Thankfully it looks like the genre has found its saviour in French artist Camille. Le Fil, Camille’s impressive previous record has already sold well in excess of 500,000 copies. Not bad for an avant-garde concept, where the entire album was hung on the thread of a single unobtrusive note, sustained throughout the album. On Music Hole, Camille continues her exploration of the human voice, or as she puts it in her publicity, a mix of “the storytelling, chansons-feel from musicals with something more tribal: body percussions, minimalist trance, sub bass and throat singing.”

Music Hole shows Camille not just as an intriguing singer but also as a masterful arranger. At times her vocal arrangements are double-tracked, so she deliciously becomes her own rhythm section, while beat-boxing and crooning over the top. The result is mesmerising and with the sparse use of piano whispering in and out, Camille’s vocal dexterity wins you over before any curious doubts really sink in.

“Gospel With No Lord” is a wise opener. Infectious, irreverent and playful, Camille layers the beat-boxing, providing the cool bass underscore. With a delicious “Allez Camille Allez” intro making her sound like a softly spoken M.I.A., Camille is soon away on an addictive rap, cooing “I Didn’t get it from the Lord / But I know I got it / I know I got it / I didn’t get it from the Lord / I got it from my brother / I got it from my sister / I got if from my mother and father / I got it from myself.”

When Camille sings “from my father in-law / from my sister in-law”, the way she uses the croak at the back of her throat to stretch out the “awwwww” is captivating. You soon realise that we’re being cheated and all along she’s had a secret companion, her wry sense of humour. Half way through this cool little wordy rapping hood she throws you off guard, bringing in a heart-wrenching piano, a la Tori Amos circa Little Earthquakes, and you’re left there, a little crushed, before she giggles and carries back on with the fun. It’s modern day cabaret, with all the style of the Dresden Dolls’ Amanda Palmer, but without some of the cynicism.

The wry humour continues throughout the record. On “Cats and Dogs” Camille comes across all gorgeous Ute Lemper-like, swaying a chanson melody back and fore, while warning of the true intentions of our domestic pets. “Cats and dogs are not our friends / Scratch their ears / They’ll wave their tails / And if it rains again next weekend / It’s all because of them.” It’s mischievous and fun, but when the farmyard noises appear you start to wonder if Camille hasn’t put on make-up and lights for The Muppet Show. You half expect a penguin to turn up.

As quirk and irony, the “Money Note” fares much better. Above an amazing self-made beat, which sounds spookily like the bass for Happy Mondays’ “24 Hour Party People”, Camille hilariously takes the Mariah and Whitney warblers to task. ‘’If Dolly Parton wrote it / And Whitney Houston stole it / If Celine Dion could reach it / I’ll hit the money note.” However as much as the comedy is titillating and mischievous at times, it’s curious why Camille wishes to litter the album with such trivial fun, when her true talent—her voice and the exploration of it—is so tantalising. Thankfully the vocal genius and body kinetics are left to breathe on the majority of the songs. “Kfir” runs along on a chilled R&B groove, “Home Is Where it Hurts” is a pouncing and textural ballad, while “Waves”, appropriately so, is a swirling ambient delight.

The Online Etymology Dictionary lists the origins of a capella as from the Italian for “in the manner of the chapel”. Music Hole’s absolute treasure is “The Monk”, a layered and drifting solo piece of classical a capella that would sound rapturous if it were floating up into the high recess of a cathedral. It sounds eerily like Dawn Upshaw, the arrangement is sublime, and it suggests that hopefully in the future if Camille wishes to move beyond the swelling beat-box of her voice it won’t be into comedy, but graceful magic like this.
 
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 sb483  Mer Mai 14, 2008 7:13 pm
 

When Camille sings “from my father in-law / from my sister in-law”, the way she uses the croak at the back of her throat to stretch out the “awwwww” is captivating.


‘’If Dolly Parton wrote it / And Whitney Houston stole it / If Celine Dion could reach it / I’ll hit the money note.” However as much as the comedy is titillating and mischievous at times, it’s curious why Camille wishes to litter the album with such trivial fun,


In any event, thanks for the positive (though I wouldn't call it good) review, Casimir.

edit: reading it again, I'm not even sure I would call it a positive review
 
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 Jasmin  Mar Mai 20, 2008 3:06 pm
 

Excellent review of the gig at Koko
http://www.independent.co.uk/arts-entertainment/music/reviews/camille- koko-london-830510.html
 
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 apple  Mar Juin 24, 2008 1:29 pm
 

Les anglais se mettent à Money Note !!
http://music.guardian.co.uk/pop/story/0,,2287152,00.html
 
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 val  Mar Juin 24, 2008 2:01 pm
 

hey

dans cet article, ils parlent d'un clip... mais où peut on le voir...?

in this article, they have it about a video but i dunno where tow atch it...
 
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 apple  Mar Juin 24, 2008 4:30 pm
 

Je suppose que le second single, MN , est sorti en GB et il doit y avoir un clip... mais ici quand ???
 
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 Balao  Lun Oct 24, 2011 6:52 am
 

Ilo Veyou Review :
http://www.musicomh.com/albums/camille-3_1011.htm

Camille is something of a national treasure across La Manche. She's won the Victoire de la Musique, received a nomination for theBBC World Music Awards and arrested the attention of anybody who's listened to her work. She's made a name for herself in vocal experimentation (remember the angry duck impersonations of Canards Sauvages?), and in the past, that's gone hand in hand with experimentation behind the mixing desk - cf. 2005's MaJiKer-produced, effect-rich Le Fil and the follow-up, Music Hole.

Yet Ilo Veyou is a total departure in the latter respect. Stripped down and low on instrumentation, each track of the new album was recorded in one take, sans headphones, with very little post-production. The result is doubly startling - thin musical texture on the one hand, but accompanied by a redoubling of the vocal experimentation on the other. What ensues is unhinged, bizarre and often utterly mesmerising.

With its pseudo-franglais title (move the space two characters right), Camille openly acknowledges that her latest effort is heavily influenced by recent motherhood. Several of the tracks babble in babytalk, seemingly targeted more at her newborn than at an audience of adults. Message is a mere 49 seconds of twee la-la-laing, while Bubble Lady is as adorable as it is deranged. But we're not always paying this 'bubbly-wubbly lady' for her lyrical coherence - sometimes the lyrical performance itself suffices, and it's suitably arresting.

Recorded with a string quartet, the session musicians nevertheless play second fiddle to the virtuoso performance of Camille's voice. Whether the unsettlingly deep belly-tones of the title track, the nostalgic-old-lady-warble-becomes-patriotic-opera-diva (could that be an Edith Piaf homage, possibly?) of La France or the the xylophonic bounce of Tout Dit, the sheer versatility of her instrument is spellbinding, and used to great effect. In oriental-sounding Le Berger, she even impersonates a flute.

And despite the occasional baby-babble, there are moments of excellent writing, too. The frenzied rhythms of Aujourd'hui are like demonic beat poetry. In Pleasure, "I want to feel pleasure as much as I feel pain, I want to feel pain as if it was a leisure" provides a downright sexy rhyming pattern over a tight-knit rhythm. And West Boy is a ballad whose haunting grace evokes more than a little of Eva Cassidy.

But the real highlight is Mars Is No Fun - it might not be, but this song certainly is. Strings sweep in to turn a twee picture-postcard into a full-on love song, and the blending of the bizarre with the banal ("I want to go back to Earth and live with you, and hang out in the shopping mall in Milton Keynes") is simply delightful.

Camille is an artist who deserves attention. At once understated and innovative, her often-crazed genius makes this album, different from what went before yet in its way a product of it, a pleasure to listen to.
 
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 Clmer  Sam Fév 20, 2016 8:14 am
 

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Recent interviews & articles in English
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