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 RDW  Lun Mar 31, 2008 10:18 pm
 

Some good ones, especially the first, all positive:

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/musi c/article3633936.ece

http://music.guardian.co.uk/omm/story/0,,2264355,00.html

http://www.thisisfakediy.co.uk/articles/9238/Camille---Gospel-With-No- Lord.html

http://www.digitalspy.co.uk/music/a92578/camille-the-fast-facts.html
 
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 Vic  Mar Avr 01, 2008 6:40 am
 

Thank you RDW !

About the first article :
Does anybody knows what "avant-pop" et "avant-folk" refers to ?
Et quelqu'un connait Soko "the new queen of french pop ?"
 
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 AVA  Mar Avr 01, 2008 12:54 pm
 

[Sorry for the french here, but I'll sum up at the end]

ça m'a surprise de voir Soko dans cette liste, parce qu'elle est peu connue en France

C'est une jeune actrice française (Stéphanie Sokolinski vue dans "Dans les cordes") qui avait commence à faire de la musique sur myspace il y a un an, et il y avait eu un buzz parisien assez fort, mais pas au-delà pour la France, et par contre un gros succès au Danemark et Belgique où les radios ont passé ses titres à fond.
Un EP à son actif ("Not Sokute"), avec Toma Semence à la guitare/compo/recording.

Myspace

sa chanson la "plus connue"

----

English sump up
Soko is not really famous in France, except in the underground Paris or for few movies she played in, but has a good success in Danemark or Belgium.
She has an EP (on itunes I think), called "Not sokute".
 
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 Vic  Mar Avr 01, 2008 2:48 pm
 

Merci Ava !

C'est plutôt charmant ce qu'elle fait la petite Soko
 
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 RDW  Mar Avr 01, 2008 10:20 pm
 

Thanks for the link to Soko! I wonder if there are any other less well known artists that UK Camille fans should check out?

Avant-pop etc. is probably derived from avant-garde, see e.g.:

http://www.epitonic.com/genres/avantpop.html

I've even seen 'avant-metal'! I guess 'avant' is not used in this way in French? It's a common word to you guys, but just exotic enough for English-speakers to appropriate it for trendy labels like this
 
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 Vic  Mer Avr 02, 2008 7:17 am
 

Thanks RDW.

I suppose it's a kind of "crypto-pop", or "neo-pop" in (unusual) french ?
 
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 Jasmin  Sam Avr 05, 2008 2:45 pm
 

More good reviews :
http://www.thisislondon.co.uk/music/article-23474406-details/CDs+of+th e+week/article.do
http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/musi c/cd_reviews/article3660407.ece
http://www.timeout.com/london/music/review/audio/1095/camille_music_ho le.html
 
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 Casimir  Sam Avr 05, 2008 7:29 pm
 

Win A Chance To See Camille In Paris

Citation:
Prize offered:
Charisma will provide two tickets to see Camille play at La Cigalle, Paris on Saturday 24 May, one night’s accommodation in a three star hotel for two people sharing and return travel to Paris from London on Eurostar.


Another article :

http://arts.guardian.co.uk/filmandmusic/story/0,,2270495,00.html
 
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 Jasmin  Dim Avr 06, 2008 5:06 pm
 

Another very positive review
http://www.thesun.co.uk/sol/homepage/showbiz/sftw/article997596.ece
 
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 Casimir  Lun Avr 07, 2008 9:49 pm
 

Camille - Music Hole

Review by Jack Foley

product

IndieLondon Rating: 3.5 out of 5

(source)

Citation:
YOU have to admire the ambition and talent of French singer Camille, even if elements of her third album Music Hole don’t necessarily work out for the best.

It’s an adventurous mix of styles that are delivered with layered vocals and beat-boxed textures that look to build on the success of the 500,000-selling Le Fil, the sophomore effort that really got her noticed.

Or, in her own words, it’s a mix of “the storytelling, chansons feel from musicals with something more tribal: body percussions, minimalist trance, sub bass and throat singing”. If you think that sounds ambitious, it is. If you think it sounds an odd mix, it is at times. But if you want to give it a try, there’s plenty to admire.

The album, perhaps wisely, opens with the infectious lead single Gospel With No Lord, a genuinely catchy brew of beatbox vocals, finger clicks and seductive French vocals. But it’s immediately striking that Camille is mixing French with English, a ploy that helps to make the album as a whole more accessible than her previous work. It’s effortlessly cool and really quite different.

Cannards Sauvages continues the positive vibe with an even more urgent beatbox backing that’s perfectly offset by some playfully breathy vocals, while Home Is Where It Hurts drops a hip-hop influenced back beat to boost the beatboxing, as well as some measured piano chords that contribute to one of my favourite tracks. Camille’s vocals are also at their most forceful and striking, and it’s good to hear her being stretched.

Thereafter, however, the album widens the scope of its musical influences and has more trouble engaging.

Kfir begins with the type of laidback vibe that Bobby McFerrin styled a career around, before dropping another moody backbeat and some sassy vocals, but The Monk is an example of the LP at its most musical and operatic. Camille’s vocals soar like a soprano to begin with, then drop some layered melodies a la Imogen Heap, before mixing both styles to unusual effect. The overall result is both intoxicating and frustrating – and the indulgence is way too long at almost seven minutes.

Cats And Dogs is more “chanson”-style and another misfire, Money Note picks up the pace with a more disco vibe but also feels overlong at over six minutes, and Katie’s Tea is kooky and intricately layered but not as successful as some of the earlier tracks, particularly during the expansive chorus.

But there’s a haunting, ethereal vibe surrounding the epic Winter Child that brings things back from the brink of turn-off, while Waves is as moody and magnificent as the sea itself, reaching several crashing vocal highs that underline her individual talent.

Final track Sanges Sweet rounds things off in some style with some beautifully melancholy piano underpinning the sweet vocals. It’s a song that you feel is tailor-made for radio and which employs more pop sensibilities than normal, but if it helps to bring more listeners to the album, then it’s no more than Camille deserves.

For no matter how many reservations you have about certain aspects of proceedings, you have to credit Camille with having the guts to offer something different – and quite often brilliantly so. Music Hole is worth hearing for its highlights alone.



Edith : Here's another one (source)

Citation:
Parisian pop beauty, Camille Dalmais, has been busy cooking the books of vocal imagination on the follow-up to 2005's gold-selling album, Le Fil. Unlike its predecessor, which hung each track around the same long droning note, the punningly titled Music Hole reveals a more acute sense of playfulness and irreverent humour from the bewildering Gallic artist who bagged herself the French equivalent of a Brit and the Mercury Music Prize for her sophomore record.

Yet, for all her success, 30-year-old Camille is still very much her own woman. And as she sings in English for the first time here, she's still venturing into pretty much unexplored vocal territory. But despite the one obvious comparison to Bjork’s largely a cappella album, Medulla, Music Hole serves up a different kind of quirk, irony and melodic charisma. Take the Money Note which fittingly pokes fun at divas, including Mariah Carey's penchant for ridiculously high notes: ''If Dolly Parton wrote it/ And Whitney Houston stole it/If Celine Dion could reach it/ I'll hit the money note''. This before breaking into an old school electronic house climax as Camille wails: ''I just wanna beat Mariah! Where she herself hits a note that will make your dog's ears bleed!''. Our four-legged companions also get a rough deal on the piano led Cats And Dogs which parodies the old chanson style as Camille goes feral, imitating animal noises as she coldly reminds us that: ''Cats and Dogs are not our friends/They just pretend/It's just emotions we invent so we forget we're by ourselves''.

Her signature style of looped vocal scatting is still present, with instruments and electronics taking a back seat. With minimal assistance to her voice, she manages variously to tackle introspective r 'n' b balladry on Waves, cinematic storytelling on Winter's Child and tribally infused, uplifting gospel on Canards Sauvages; where she sounds like she's splashing with ducks in the bath.

Elsewhere, The Monk is transcendental. The layered harmonising has an operatic finale whose ethereal quality is a welcome interlude from more demanding aural experiments such as Katie's Tea.

Camille doesn’t seek anyone's approval as she muses on her musical roots in Gospel With No Lord. This a cappella popstrel knows she's got talent as she sings: ''I didn't get it from the Lord/But I know I got it''. She even slips in a cheeky ''merci'' to the listener on the silence which follows ecstatic album closer, Sanges Sweet. What a cutie..
 
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 Casimir  Mer Avr 30, 2008 10:02 pm
 

Another review, which is really hard on the new album

Citation:

Camille: in a 'Hole'...
Monday, April 28, 2008

...and we're not digging it. The greatly-anticipated new album from the French vocaliser is a disappointment: too much self-consciousness, not enough songwriting, and some graceless slagging of other singers. What a pity.

We've given it time to see if it's a grower. It's not. We watched her TV appearances on the off-chance that it works better live. It doesn't. We watched part 1 and part 2 of the making-of documentary in the hope that we'd learn how to decipher its mysteries. There aren't any. The new Camille album, 'Music Hole', just isn't very good, and that's about it.

Camille Music HoleWe had feared as much when we heard 'Money Note', the first track made public before the album's release. The vocal effects were clever and engaging, so we liked it on first listen. Paying closer attention, we were surprised to discover that she was openly criticising MOR divas like Céline Dion and Mariah Carey for their histrionic technique.

This we found a bit rich, as Camille herself showboats all the way through 'Music Hole'. Like Whitney's infamous climactic blaster in 'I Will Always Love You', what else are Camille's vocal effects but a spotlight on her singing technique? And with her hyperactive live persona, she combines "listen to me" and "look at me" as much as any attention-seeking stage-school brat.

The extra attention on Camille has been detrimental to the quality of her material. On 'Le Fil' her vocal effects were subtle and served the song, like for hit single 'Ta Douleur' where her vocalising embellishes an already-brilliant pop song. For her new album the songs serve the vocal effects. This is apparent on the terrible first single, 'Gospel With No Lord'. Like 'Money Note', it's a song about being a singer; one step above 'songs about the war I watched on CNN' on the scale of Bad Lyric Ideas.

In 'Gospel With No Lord' Camille praises the person from whom she received her singing gift - herself. (It starts with her cheering herself on: "Allez Camille, allez Camille".) And, her family, whom she eulogises with a naff riff in a kooky deep voice ("Father in laaawwww - sister in laaawww - brother in laaawwwww"). It's supremely irritating and miles away from the subtle, subversive charm of 'Le Fil'.

The rest of the album follows the same tack: promising songs are sunk by Camille's incessant need to highlight the vocalising that made her name. So, a quiet thing like 'Home Is Where It Hurts' is ruined by the very showboating she criticises in Mariah et al. With depressing predictability, 'Cats And Dogs' breaks into animal noises. And so forth.

Follow-up albums, as we noted above, tend to be written in the spotlight of public praise and expectation, and thus with a great deal of self-consciousness. Like thinking about yourself while dancing, too much self-awareness trips up songwriters every time. With every note and song of 'Music Hole' Camille seems vividly aware that she's Camille, and so she plays at being Camille for the whole album. This may be impeccable post-modernism - but it makes for rotten music.
 
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 Vic  Jeu Mai 01, 2008 7:37 am
 

Damned ! it sucks being her today...

 
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 val  Jeu Mai 01, 2008 2:52 pm
 

Yeah...

I could title an article "from sors de ta calle to sors de ton trou"

Must be kinda nice to be her... lots of polemical debates... lots of terrible (yet unforgettable) reviews. Bravo Camille. Hip Hip Hip...
 
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 Jasmin  Jeu Mai 08, 2008 12:11 pm
 

In this review, it doesn't suck being her !!
http://www.inthemix.com.au/music/37717/Camille_Music_Hole
 
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 Jasmin  Jeu Mai 08, 2008 12:14 pm
 

Neither in this one from the Independent :
http://www.independent.co.uk/extras/sunday-review/regulars/closeup-fre nch-singer-camille-819206.html
 
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Recent interviews & articles in English
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