Camille's last album, 2008's beat-boxy Music Hole, pitted the playful French chanteuse against the percussive sounds of her own body. It will come only as a minor shock, then, that one song here, "Message", ends with the brassy parp of Camille passing wind. The rest of Ilo Veyou finds her singing with minimal accompaniment in vast church spaces, filling them with deceptively canonical songs in both French and English. On the pretty "Le Banquet", for one, an errant man's privates are served up to a waiting table of wronged women. Whimsy sometimes prevails, but Camille remains a restless, inventive voice, as enchanting as she is silly.