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Oct 12, 2017No matter how unexpected the combinations, OUÏ is always utterly charming, and one of Camille's finest reinventions of tradition.
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Aug 1, 2017Never does she let these arrangements overshadow the most arresting part of her work though: her own voice.
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Q MagazineJun 6, 2017Dalmais's new album arrives wrapped in conceptual packaging and plays beguiling tricks with her remarkable voice, at times airy, at others earthy. [Aug 2017, p.100]
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Jun 20, 2017It’s a shame there’s no such thing as a subtitled listening experience because OUÏ is rich with brilliant, funny ideas about conception, nurture, and identity.
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Dec 1, 2017OUÏ is, perhaps, too brief, its songs too fleeting for it to be considered a landmark release. Often, Camille's ideas barely have the time to take shape before she's on to the next one, and while the lack of bloat is commendable, giving a track or two some time to breathe a bit might have made for a slightly more satisfying listen.
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MojoJun 6, 2017It's a slight concept (and a short album), which may be to the singer's benefit: in the past she could be off-puttingly clever in a very French way. OUI seems to be saying to us: "Yes, I'm simply a singer. Just Come and enjoy the music.". [Jul 2017, p.93]
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UncutJun 6, 2017It's all very pleasant, but somewhat weightless. [Jul 2017, p.26]
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Jun 6, 2017Rarely breaking into the kind of wryly humourous abandon at which she excels (Twix is the closest anything gets to Music Hole or Ilo Veyou territory), the results are hypnotic, if arguably more short-lived than previous efforts.