Julie Campiche's latest album "Unspoken" is a sonic masterpiece that showcases her unique blend of avant-jazz and world music. A celebration of sisterhood, the album is dedicated to women who have inspired the Swiss harpist and composer, with tracks like "Anonymous" featuring a chorus of women's voices in different languages building to a clamour.
Campiche's virtuosic harp playing takes centre stage on songs like "Grisélidis Réal", which pays tribute to the artist and writer who took her physical and mental life to every precipice, including sex work. The lilting melody is accompanied by gently lyrical harp lines that add an air of melancholy to the track.
The album's title, "Unspoken", refers to the often-overlooked stories of women throughout history, from anonymous authors to migrant workers who keep pushing forward despite adversity. Campiche's use of vocal loops and classical music elements adds a sense of depth and complexity to the tracks, making each one feel like a world unto itself.
Despite being the least jazzy of her ventures so far, "Unspoken" showcases Campiche's ability to inhabit a world of improvisers and create something truly magical. Her collaboration with herself – using her in- and out-breaths as the rhythm pattern on "Maman du Ciel" – is mesmerising and creates an otherworldly atmosphere.
What sets Campiche apart from other jazz musicians is her commitment to using sound as a tool for social commentary and activism. She is not afraid to tackle tough topics like environmentalism and feminism, but does so in a way that feels organic to the music itself, rather than feeling forced or didactic.
Overall, "Unspoken" is an album that rewards close listening and repeated plays. It's an invitation to enter Campiche's sonic world, where soundscapes blend seamlessly with spoken word and social commentary. As a work of art, it is both deeply personal and universally relatable – a testament to the power of music to transcend borders and ideologies.
Campiche's virtuosic harp playing takes centre stage on songs like "Grisélidis Réal", which pays tribute to the artist and writer who took her physical and mental life to every precipice, including sex work. The lilting melody is accompanied by gently lyrical harp lines that add an air of melancholy to the track.
The album's title, "Unspoken", refers to the often-overlooked stories of women throughout history, from anonymous authors to migrant workers who keep pushing forward despite adversity. Campiche's use of vocal loops and classical music elements adds a sense of depth and complexity to the tracks, making each one feel like a world unto itself.
Despite being the least jazzy of her ventures so far, "Unspoken" showcases Campiche's ability to inhabit a world of improvisers and create something truly magical. Her collaboration with herself – using her in- and out-breaths as the rhythm pattern on "Maman du Ciel" – is mesmerising and creates an otherworldly atmosphere.
What sets Campiche apart from other jazz musicians is her commitment to using sound as a tool for social commentary and activism. She is not afraid to tackle tough topics like environmentalism and feminism, but does so in a way that feels organic to the music itself, rather than feeling forced or didactic.
Overall, "Unspoken" is an album that rewards close listening and repeated plays. It's an invitation to enter Campiche's sonic world, where soundscapes blend seamlessly with spoken word and social commentary. As a work of art, it is both deeply personal and universally relatable – a testament to the power of music to transcend borders and ideologies.
She really outdid herself this time around - the way she weaves together different languages, vocal loops, and classical elements is just genius! 
And I gotta say, her commitment to using music as a tool for social commentary is super inspiring - it's not always easy to tackle tough topics like environmentalism and feminism in an album, but she does it in such a way that feels organic and authentic. 
The way the different tracks flow together, from "Anonymous" to "Grisélidis Réal", is just masterful. It's like stepping into her own personal world - I want to immerse myself in this sonic landscape forever! 
. I love how she pays tribute to women who have inspired her, it's such a beautiful thing. And the vocal loops and classical music elements are like wow, so cool 
. What I think sets her apart from other jazz musicians is that she uses sound as a tool for social commentary and activism... it's not just about the music itself, but also about making you think and feel something 
. And have you listened to "Maman du Ciel" yet? It's like nothing I've ever heard before 
. Anyway, if you haven't checked out "Unspoken" yet, trust me and give it a listen... it's pure magic 
.
it's so emotive and evocative, you can literally feel the pain and struggle she's pouring out on tracks like "Grisélidis Réal". I love how she's using music as a form of activism too - tackling tough topics like feminism and environmentalism in a way that feels organic to the music 
. and can we talk about the vocal loops? it's like having a choir of angels singing along with her 
and i'm blown away by her talent 
sounds like she's tapping into something deeper with this one, like a collective unconsciousness 
anyway, campiche's commitment to using sound as a tool for social commentary is something to be admired 
she's not afraid to tackle tough topics in a way that feels organic to the music 
, where harp and voice weave magic 
. I mean, what's up with the whole "celebrating sisterhood" vibe? Can't we just have some music that doesn't try to tackle every social issue under the sun? And don't even get me started on the vocals – it sounds like someone poured a bottle of cheap wine into a megaphone 
. Give me something with some actual substance, you know? Like, what's the point of using vocal loops and classical music elements if you're just gonna make it sound like elevator music? 