Camille’s genius though isn’t limited to technical juxtaposition of sound and vocal injections. While Music Hole doesn’t offer the insane modulations Medulla can curl syntax as defining as does, it’s not a liability because it bounces tracks that render it just as original. Besides, no one in popBjork nor is her genius rivaled seriously by anyone not named M.I.A. Music Hole is stunning in what it grasps from the past as well as what it ekes out from its host production country, Iceland. "Canards Sauvages" juggles puddle of water effects over a deep swathe of Nordic pop then blows it all away blissfully with Camille’s voice. Even the more traditional tracks like "The Monk" shimmer with delightful vocal feedback.

The only hindrance to the album receiving a perfect score is its lack of editing. Her abundance of ideas sometimes comes off as overstuffed and, if cut or edited, could’ve had a sharper, leaner focus. "Money Note", brilliant as it is, undergoes endless rotations before finally ending. "Cats and Dogs" manages to tie its Piaf-like start to slightly comical ‘woof woof’ sounds to a minimum but the line is thin. For those few seconds before her vocals hijack the mood, it gets cagey while those arcane sounds flail around. Such wild experimentation takes guts even though pop music has become so gutless, especially in America.

The album as a creative concept is dying there and the record industry must be panicking when even the generic stuff they feed us isn’t moving units like before. Maybe we need to heed Nick Cave’s words and ‘call upon the author’ to explain what’s going on.

It’d be a pity if Music Note falls through the cracks because its best moments outshine that of any other record released this year so far. "Katie’s Tea" is one of many stunning numbers that features shrilly singing by the chanteuse complimented with pop invectives. These divine moments ("Home is Where it Hurts", "Waves", "Kfir") uncover the true indicators of her growth: a broadened sense of music influences. If Le Fil held Bjork up as the ideal sound solely then Music Hole, at its most maddening moments, echoes Tori Amos and Kate Bush (another heavenly pairing that always seems inescapable). While those are some pretty impressive names to dare to canvass from, I’m beginning to think that’s what Camille is reaching out for on the album cover: a slot alongside such vital female artistes. What may stun you, because the cover shot isn’t big enough for you to see, is how frighteningly close she is to reaching out to catch it.

RATING: 9.5/10