OUÏ Camille

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  • 1Sous le sable03:47
  • 2Lasso02:34
  • 3Fontaine de lait02:58
  • 4Seeds02:50
  • 5Les loups02:12
  • 6Je ne mâche pas mes mots02:37
  • 7Twix02:32
  • 8Nuit debout03:44
  • 9Piscine02:28
  • 10Fille à papa03:28
  • 11Langue02:51
  • Total Runtime32:01

Info for OUÏ

Recorded over a year in La Chartreuse, a 14th century monastery-turned-artist’s residence in Avignon, France ‘OUÏ' is a cornucopia overflowing with folk, hymns, ballads, pop, lullabies and breathtaking a cappella. The album’s title, ‘Oui' - ooo…eee – emulates a consistent theme throughout the recording, a playfulness with sounds and language, a breaking free from its oft imposed restrictions.

Becoming a mother for the second time also had a bearing - “Having my children made me want to dive again into the spring of life, of love, of sound. All this mothering has led me to an approach of fluidity, I am enthusiastic about the cultural renaissance that is coming up, this going back to earth.” This enthusiasm for ”going back to earth” is reflected in Seeds. Camille’s intention had been to make the entire album in French but “this one resisted”. “This is a song composed on the piano with Clément who imagined this American pattern (that almost military rhythmic sequence). Its kind of a protest song. I talk about the industrialization of crop seeds but also, by extension, about the exploitation of human seeds. Nevertheless, it’s quite a soft song that goes beyond anger.” “We have to go back to the earth,” she says. “The greatest luxury now is to do things local and little. We need to put our hands in the dirt and make food come to life. I have a little garden and I grow and eat my things, and I see how it helps people feel reborn.”

Co-produced by Camille with two of her longtime collaborators, composer and multi-instrumentalist Clement Ducol and sound and mixing engineer Maxime Leguil, and featuring the versatile Moog analogue synthesiser, ‘OUÏ’ is a work with a pulse. “It really resonates,” says Camille, “On some songs there are no drums, just this sub-bass like a kick drum, which leads the way and gives it a beat.” Having earned a stellar reputation for her live work - running the gamut from sold out cross art form happenings from Paris to London and Sydney to a pared down tour of chapels in the Le Beaujolais region - Camille celebrate ‘OUÏ’s release with a tour of her native France throughout the summer of 2017.

Camille Dalmais
Born in the 14th arrondissement of Paris in 1978, Camille Dalmais came into contact with the music world at an early age. Her father was a musician, who also indulged in a spot of songwriting from time to time. Camille soon discovered her own artistic bent, developing a passion for dance. She started taking ballet classes at the age of 7 and went on to perfect her skills over the next ten years. Meanwhile, Camille was also keenly aware of music, attending her first live concert at the age of 7 (when she watched Ray Charles perform at the Roman amphitheatre in Nîmes).

Camille, who had also developed a strong interest in bossa nova and American musicals, was already set on taking to the stage one day herself as a dancer, an actress or a singer. Yet she never once conceived of the idea of learning her profession in any kind of institution. For her, the arts were a personal world, to be explored in an instinctive, self-taught way. Camille went on to give her first public performance, singing at a wedding when she was just 16. "Un homme déserté", the song she performed at the wedding, was co-written with friends.

While still dreaming of becoming a dancer, an actress or a singer, Camille applied herself to her studies. She was a particularly gifted pupil and studied at the Lycée Henri IV in Paris, obtaining an arts degree before sitting the exam for the prestigious Normale-Sup Saint-Cloud. Camille then went on to graduate from "Sciences Po" (where she was allowed to record her album "Sac de filles" as a final end-of-year-project). Meanwhile, on the songwriting front, "Un homme déserté" had laid the foundations of what was to become the Camille style: a combination of ‘70s soul influences, ‘60s folk influences, French 'chanson' and a particular attention to language.

Camille honed her vocal skills, taking singing lessons, and she began trying out her new songs on the Paris jazz circuit, accompanied by a backing band which included her future guitarist, Sébastien Martel. Camille also found work as a backing singer and she came to professional and public attention, performing as one of the backing singers with Jean-Louis Murat when the latter appeared on a television show. …

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