Camille’s career as a musician began in the late 90′s as vocalist in the post-punk revival band No Avail. Around the same time his education in guitar began in earnest under a succession of inspiring, bemusing, and noteworthy improvising guitarists including Jeff Hughes, Tom Fryer and Elliott Folvig, feeding him theoretical ideas largely spawned from the world of jazz (with a little no wave mixed in). Combining with a growing sense of raw pleasure in sound and a curiosity in music’s various underpinnings, Camille began to compose his own music and songs, pursued formal education as an improvisor and more recently as a composer, performed in any number of bands from kitchen sink rock to cheeseball acoustic covers and generally plunged into a joyful mire of sonic obession.
Camille’s music is informed by Punk, Classical, Jazz, Pop, Avant Garde Electronica, and various other streams of sound making, and attempts to make the challenging engaging and under the right circumstances, pleasurable.
Camille is interested in the visceral and tactile properties of sound, and in the challenges in expressing subjective temporal experience in music notation, and realising an intelligible and expressive post-(a)tonal language.
Camille is currently undertaking postgraduate research into Australian pioneers of experimental music working in the first half of the 20th century, building upon his Honours thesis Light & Rhythm: The Life and Music of Jack Ellitt: (Ellitt was an early pioneer of what was later termed Musique Concrete, as well as Drawn Sound synthesis).
Camille has been variously called a Composer, Improvisor, Guitarist, Songwriter, Sound Designer, Sound Artist, Producer, Cartoonist, Teacher, Conductor, Arranger, and Musical Director, and is more than happy being referred to by any of these terms.
