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Camille

Writer Nat Liechti speaks exclusively to quirky French singer-songwriter, Camille, whose latest album, Le Fil, is an exploration of her own vocals and its limitations — of which there appear to be none: Shrieking, beat-boxing, crooning and whooping her way through the seventeen avant-pop tracks, a single note — le fil, or ‘the thread’ — is sustained throughout, carrying on for a further thirty minutes at the album’s conclusion. ‘It was my way of pulling all of the eclectic ideas together’, she explains. ‘We live in a threadless world and I needed that connection with myself, and that connection that links us to each other. I really see the album as a single piece with different acts and different interludes. I feel that that’s my message, asking what does an album mean?’ It would appear that she does not hold the same — albeit somewhat effusive — opinion as me on the nature of French artists and their ability to remain effortlessly perched on the cutting edge of creation at all times. ‘Oh, but I feel as though you are being too kind to the French. Everyone recycles everything and our country is surrounded by what’s going on in England, in Spain, and there are so many different cultures …’, she trails off, before continuing decisively, ‘I’m just trying to be experimental. I do things instinctively. I’m not trying to identify with a certain style, as I’m quite individualistic. My path is to explore my own voice … it’s wider than music’. Whilst her debut effort in 2002, Le Sac des Filles (made as part of an internship while she was a student), was critically acclaimed in France, it wasn’t until Le Fil that people outside Europe really paid attention. But as soon as the album began to filter out, the comparisons began flowing in — Bjork, Kate Bush, Fiona Apple. And whilst she could just be grumpy from the Hoover nearby, it’s clearly a subject that she’s a little weary of. ‘Journalists have to compare things, otherwise it’s too abstract. I’m not frustrated by that, but I do feel that what is being compared is more so our eccentricity. I do feel related to these women, more than musically. Their imaginary world is so developed and very vivid. We share that. But otherwise, the reaction has been very pleasant. I wasn’t expecting anything. It was a very introspective album, and I put it out there and the audience followed. The world is surprising’. [see also The Paper Scissors]

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