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Camille's 2008 album 'Music Hole' was my introduction to her work and
I loved it to bits. 'Ilo Veyou' continues her journey into a distinctive
musical world where the possibilities inherent in the human voice are
boundless. That she approaches her art with an utter lack of pretence
is wholly laudable and convincing. This collection of fifteen delightful
songs is reductive in approach, paring back any sense of excess and
delivering something which sounds as fresh as it is enervating. There is
an intimacy in the arrangements which invites us in like old friends to listen.

Singing in both French and English Camille has a truly lovely delivery;
it is a voice which savours every note and every word; a voice which delights
in its own flexibility and capacity to express a wide range of emotions.

The reliance on acoustic instruments gives the music a light and fresh
sense of immediacy but gravitas becomes her too. The haunting song 'She
Was' unfolds against a gently paced guitar and violin obbligato, slowly
gaining in intensity until its full power is released in the final bars.
'Wet Boy', on the other hand, is a simply beautiful folksy melody which
needs no decoration to make its mark. It floats like a leaf on the wind.
The traditional French musical roots of 'Le Berger' delivers yet another of
the project's highlights. A song which would not have sounded out of place as
the entertainment at a Medieval banquet. Wistful and moving in equal measure.
The tiny 'Message' is an utterly charming play-school bon bon and 'La France',
with its waltz-time tongue-in-cheek nationalistic fervour, is hilarious!
The unaccompanied final track 'Tout Dit' employs percussive vocal effects
to accompany the central melody. A cunning and breathtaking conclusion!

It's all about the voice and what a captivating voice it is.

Highly Recommended.
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on 16 December 2011
She's a bit of a superstar in her own country, but over here in the UK the French avant-garde singer Camille Dalmais is still something of an unknown quantity. This, her fourth album, is unlikely to change that since she's unlikely to get much radio play on these shores - although she has had some exposure from Jools Holland, so who knows - and that's a shame, because she is rather wonderful.
Ilo Veyou (the title is actually in English - look at it again) is, like her previous release Music Hole, a mix of the odd, the mischievous, and the beautiful. Her amazingly flexible voice leaps across the octaves (the title track is sung in two different registers, at the same time - you need to hear it to understand what I mean) and across musical styles, incorporating elements of blues/soul belting (My Man is Married), balladry (Wet Boy), and even chanson (La France) mixed with her signature odd instrumentation and beatboxing.
This edition comes with a DVD containing an hour of film illustrating songs from the album. It's quirky, funny, pretentious and well worth the extra cash just to see her in action.
In turns silly, strange, challenging and beautiful, Ilo Veyou is well worth the effort.
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on 27 October 2011
One of the many great things about Camille is that each album is different. After the exuberance and full sound of Music Hole, Ilo Veyou is a stripped back album, with Camille sometimes singing with no accompaniment, otherwise with a violin, cello and guitar. It is her most emotional album, but typically it retains humour (as in La France) and naughtiness (as in My man is married but not to me). Some songs are sung in English, others in French. You quickly surmise she has had a baby and she sings so movingly about the experience but with a welcome 'oddness' and novelty of perspective. Some of the time, it is like she is singing in a church, with wonderful echoing acoustics and then you look to see that she actually recorded some of the songs in churches around France. But she does not leave behind her love of rythym (as in Allez, Allez). She continues to experiment with her beautifully clear and versatile voice. I love it and recommend it unreservedly.
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on 1 November 2011
I have come across Camille's performance on 'Later.....with Jools Holland' a little - haha - late having recorded and then watched last night, so I have only just seen her lying on her back on a rug singing 'Wet Boy' and then barefoot on a blanket doing her Piaf best with 'La France', quirky but one helluva lot of fun, and my goodness, as we know, she has some great French pipes.

Opener 'Aujourd'hui' is, as far as I can make out, a piece of performance poetry, the plosive sounds made all the more enticing because I don't know what she is saying - it is pure sound. Wonderful. Third track 'Alez Alez Alez' sounds like it should be a Hare Krishna chant, even with the chamber strings at the start, but the choric childrens' vocal is again simply bucketloads of musical fun. 'Wet Boy' sounds like the ghost of Jeff Buckley duetting with Feist and I invoke these two as a compliment to the range portrayed within the first four songs [and sixth 'Mars Is No Fun' echoes the vocal of Rickie Lee Jones]. Then you come to seventh track 'Le Berger' which is simply sublime as a vocal, and wholly Camille in another beautiful place within that expansive range. Eighth 'Bubble Lady' plays around again with the plosive sounds of the alliterative 'b' as well as other accompanying percussive voices - no instruments in the whole song - and it's essentially silly, clever and joyful. Title track 'Ilo Veyou' continues the vocal romp and merges into the nursery song of 'Message'. And then we have the wonderful rollings of 'La France' that Camille claims is more old aunt than Piaf. Whatever, just enjoy it rather than get too serious. Camille clearly isn't. This is definitely mood music and you need to be in a good mood to let its playfulness poke without annoying. Indeed, she's obviously a performer in her element when singing live and I think that could playfully prod me to good humour even if I was in a bad mood.
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on 4 December 2011
I love Music Hole and her other two CDs but for me this latest release is her best album yet. From Aujordhui recorded live in the street with such inspired lyrics to those wonderful songs about her Bubbly Baby and Wet Boy to the craziness of Life on Mars, to having a gentle poke at La France. A wonderful collection of songs and sounds that is strongly inclusive and powerfully emotional from one of the best vocalists alive today. If you can follow the lyrics in French even better because they're fantastic/funny in every song. My favourite album for 2011. Recommended!!
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on 22 January 2016
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on 27 November 2011
Interesting if only for the one track "Mars is no fun", her unique voice and style carries the rest which are average.
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