Customer Reviews

Le Fil

5 star:		(24)
4 star:		(4)
3 star:		(0)
2 star:		(3)
1 star:		(1)

 

 

This record blows my mind. It is at once catchy, hummable and avant-garde. There are two big "wow" points here. The first is the "string," (le fil), a tone that persists throughout the entire record (and beyond, into secret-track land). This literally ties the entire record together and makes you listen to it as a suite: not that the songs don't stand by themselves, but this persistent note just keeps pulling you into the next one.

The second big thing is that it is arranged almost all a cappella. Yes, there are instruments. But no, the instruments don't take center stage. It's all about the voice, the human beatbox, and the clap. This gives the record a real organic feeling: it doesn't sound as if it was spit out of a hit factory. I am amazed at Camille's self-assurance in making a record like this that relies so wholly on her own voice to carry it.

The lyrics are wry, funny, and thought-provoking, but in my mind are almost completely occluded by the breathtaking arrangements and production.

I am sure many people will browse this CD on Amazon and imagine that it's some kind of folk-song/chanson update, along the lines of Keren Ann, Carla Bruni, or Coralie Clement. It's not; it's more wonderful and inspiring and adventurous than those ladies' music. Incomparable is really the best word to describe "Le Fil."

Camille Dalmais is essentially a minimalist, and the revelation of this occurs at exactly 23 seconds. Two lines in, and a choir of whispering voices surrounds your ears. Two minutes in, and you wonder exactly what you've gotten yourself into.

"Le fil" (literally, "the thread") is the single soft tone held throughout the album, tying the songs together. It is a constant presence, weaving in and out of hearing, and extending roughly 30 minutes past the last notes of "Quand Je Marche," (When I Walk) with 30 seconds of French for the very patient among us. The whole is far from monotonous (or even in the same key). It is immediately accessible, thoroughly modern, and thoroughly French. Yes, French music exists that does not have any relation to the accordion.

But despite the title, it is Camille's voice that takes center stage, as she is mostly accompanied by ...herself. Most instrumentation is replaced by vocal noises and samples, and her live shows encourage the audience to join in the experimentation.

The obvious comparison is Bjork's Medulla - but Camille's parameters are far more self-defined, creating more of a complete whole. "Senza" and the three "Janines" are short experiments in sound and rhythm, where her voice ranges from sweet to downright (albeit charmingly) nasty.

Her slightly high-pitched singing is as also striking - it is generally hard to believe that it could have any relation to the arresting gaze of woman on the front cover. However, she is far from shy about putting her concept in front of you; "Ta Douleur (Your Pain)", the first single, is accompanied by thoroughly Gallic vocal inflections (yes, this includes retching, wailing, and burping). The appropriate accompanying video shows the singer being wound and unwound in an outfit consisting solely of a blue thread.

The final three songs on the original French release - "Pale Septembre," "Rue de Menilmontant," and "Quand Je Marche" blend into a flawless finale. Love gained, love lost, and and in the end one walks away.

Fluency isn't necessary to enjoy Le Fil, but an understanding of French definitely makes it more interesting. Many songs are self-contained stories or wordplay. The heroine of "La Jeune Fille Aux Cheveux Blancs" is not a gamine but a murderess, and of course "Janine I" includes the amusing couplet "Why do you call me Don Juan when I have such a tiny...?" (use your imagination).

The only English occurs in a few phrases on "Baby Carni Bird." For the curious, her voice is almost entirely different when singing in English - this is proved by her covers of "The Guns of Brixton" and "Too Drunk To ****" from the Nouvelle Vague project.

Le fil is finally getting a stateside release (it hit the streets in France over a year ago), and is a gem that is definitely worth the time it takes to find.

Recommended: "Ta Douleur," "Au Port," "Janine III."

This album is wonderful. First of all, and foremost, the foundation of any album is the music, and this album has catchy songs from beginning to end -- perfect little pop gems that are exactly as long as they need to be, no longer, no shorter. One should be in love with the human voice to fully appreciate this album, as it is used not only for the lead instrument, but percussive, harmonic, and many other instruments -- including "raspberry" as a percussive element -- but personally, the human voice is my favourite musical instrument, and I am very enamored of Camille's, specifically. Her timbre reminds me of a place somewhere between Kate Bush's high young-girly voice, Bjork's fearless vocal gymastics (although, not quite yodeling), and perhaps Mike Patton's sheer insane versatility. The overall production is somewhat sparse, with only the occasional bass, piano, drums and whatnot accompanying her multi-layered voice. She sings in French, so for those of you who feel you must understand the lyrics, this may not be for you. I don't understand French, and I do feel I am missing something, as she strikes me as clever enough to write interesting lyrics with the occasional brilliant turn of phrase, but I guess I will just have to learn French. She's also very adventurous, and without confidence, experimentation can fall flat on its face, but Camille has so much charisma it brings a tear to my eye. I would recommend this album to fans of Todd Rundgren's A Capella, Jean-Michel Jarre's Zoolook, Beth Gibbon's Out of Season, and the works of Les Paul and Mary Ford (e.g., "Mr. Sandman").

This has been repeatedly on the CD player since it's purchase, alternating with Camille's Live au Trianon, which serves as a great companion to Le fil. The majority of the album is created by Camille's layered vocals with minimal instrumentation producing a rich tableau of sound with nuances to be discovered on each playing. Favourites songs on the CD are the rythmic Ta douleur and Au port, also the melancholy Pour que L'amour me quitte. The three bonus tracks are fine addition, Lumiere has a suprise finish (somebody's had fun in the studio.)

I have to admit, when i first listened to this album I kept thinking..."Every song sounds the same!" But as i listened to it more, i realized that the repetitive sound was there for a purpose...and that what it boiled down to was not the repetitive sound, but the repetitive beauty, catchy, and unique sound of Camille's voice! The whole album ranges from catchy to soft, edgy and dominating to sweet and innocent, while all at the same time keeping the purity of Camille's voice. I'm starting to adore Camille and her unique vocal style!

Elle est vraiment incroyable. Les lyriques sont interessantes et sa voix est tres belle. Si vous aimez le jazz, ou la musique un peut etrange, cette album est parfaite.

She is truly incredible. The lyrics are interessting and her voice is very beautiful. If you like jazz or slightly strange music, this album is perfect.

C'est vrai, elle est comme une Bjork Francaise.

Its true, she is like a French Bjork

Brillante d'originalité, Camille nous donne sur "le fil" un nouveau son. Elle apporte un vent de fraîcheur dans une industrie essoufflée et minée par le recyclage. Cet album offre la plus belle combinaison de musique inspirée, de textes travaillés et de performance vocale surprenante qu'il m'ait été donné d'entendre depuis longtemps.

In any language, this is just a unique expression of musical talent. Every song starts with that same tone but she builds such a variety of songs on top of that tone. Really cool idea, but mainly because of Camille. It is music with humor sometimes, and sometimes a dreamy quality, and sometimes she lets loose where you realize she has more than just the little girl voice. I have always loved it when a band is playing and then there is an A Capella part with an awesome vocalist. Well, this feels like that, but she adds some minimal instrumentation that is perfect. Great music!

& I do not care. i have the tunes in my head, i'm wondering how sh puts together those songs!!!! Is there anyone like her?! I want more!!

Camille is without a doubt the freshest voice I have heard in years. She truly uses her voice as an instrument, not just "Vocals" but for instrumentation..Daring, beautiful and funny at times...WE NEED HER IN THE US!!