Helluvah, the solo project of Camille W., dives deep into the spirit of 90s with a sharp indie edge.

From her earliest days with her first band, Fog, in the south of France, Camille has chased sonic intensity, with each release peeling back another layer of her evolution. Her debut, ‘Emotion Pills,’ set the stage in 2008 with folk-electro tones, earning her comparisons to PJ Harvey and opening doors to new creative directions. Partnering with the innovative producer BobX, she ventured into darker, saturated soundscapes on ‘As We Move Silently’ and built rich, post-punk textures with ‘Long Distance Runners,’ a release that cemented her as a staple in French underground rock. Touring across the U.S. and Europe with bands from Seattle to San Diego has only added fuel to her fire, and her new album, ‘Fire Architecture,’ promises to fan these flames, blending lyrical exploration with visceral sound.

“I think I’m returning to the essence of what I like”

What do you think ‘Fire Architecture’ says about where you are now as an artist?

Camille W.: Well, it’s hard to tell, but in a way, I think I’m going back to something more indie rock. At the same time, it’s more sonic, and the electronic touch is more ambient. I think I’m returning to the essence of what I like, from Interpol to PJ Harvey and the Black Angels, for example.

Could you provide more details about the creation process, recording, and production of the album?

I record demos at home—a guitar line, a bass line, the vocals, some drums. Then I send the tracks to BobX, the producer and musician I work with, and we work on them together when I go to his studio. We did sessions of one or two weeks every month and a half, or every two months. He proposes arrangements, and we work on them together. Sometimes we keep bits of the demo recordings, but rarely. We re-record everything and add guitars, bass, synths, drums, choirs… Working in several sessions allows us to step back and also gives Bob time to do an incredible job of editing, mixing, cleaning the tracks, and handling all the drums and bass. We started in December 2022, finished the recording sessions by summer 2023, and Bob completed the mixing and mastering in early 2024.

<a href="https://helluvahmusic.bandcamp.com/album/fire-architecture">Fire Architecture by Helluvah</a>

When you sit down to create, what does your space look like? Do you have any rituals or habits that help you tap into that creative flow?

I often play the bass or guitar sitting on my couch, with my cat lying next to me! I try to find lines I like, start humming along, and when I feel I have a good idea, I record it on my computer on a small desk next to the couch. I record the demos simply with GarageBand. I have a MIDI synth to add drums or synths.

Listening to your past work, there’s a rich emotional undercurrent. How did you channel your experiences into the songs on ‘Fire Architecture’?

My previous record, ‘Lonely Riots,’ was the story of a breakup. My personal life has evolved since, and I think this album reflects someone who is more mature and balanced, who can really reflect on the essence of things, on how they work. The title comes from that idea: How do you create a song? How do you make it work? It’s like starting a fire. How do you ensure the fire catches, lasts, and continues to burn? You could ask yourself the same thing about romantic relationships.

Growing up with 90s Britpop, how do you think those sounds influence you today?

What’s funny is that I don’t think you can hear my teenage love for Britpop in the music directly, but in the way I sing, in that slightly detached, very British way of singing. As for the music, I wonder if what you hear isn’t actually the influence of Britpop bands themselves, who may have drawn from the 80s. BobX once told me that you’re unconsciously influenced by the music from the time you were born. I was born in the 80s. My parents keep telling me how we were on holiday in a hotel in the south of France with The Cure while they were recording an album nearby. I have no memory of it—I was too young. Too bad!

You’ve been working with BobX for quite some time. How has your creative relationship evolved?

BobX has become more and more involved. At first, he recorded the first album except for some songs that had already been recorded with others, and he mixed the album. Then, I asked him to play with me on stage, and we started working more closely. He became increasingly involved, becoming the musical arranger of all the albums, bringing an 80s touch that I really like. On ‘Fire Architecture,’ he even had some ideas for the songwriting of a couple of songs. And he does the mixing and mastering. I still have the final word, but he brings a lot of ideas and richness to the music. That’s why we work so well together. Also, when we do studio or rehearsal sessions, he cooks, and I do the dishes. We have a perfect division of labor!

“Fire keeps you alive”

With the title ‘Fire Architecture,’ there seems to be a rich visual theme. What imagery comes to mind for you when you think about the music on this album?

Fire, of course, and how you start it! But there are different kinds of fires. The hot ones, the warm ones, the ones that scare you, and the ones that keep you comfortable—the ones that burn just right. Fire keeps you alive. It’s a range of emotions, and each song is its own fire or a combination of fires.

Your previous album ‘Lonely Riots’ touched on feelings of isolation. How does ‘Fire Architecture’ explore or contrast those themes?

That’s an interesting question. I think growing older can make you feel alone because you start to imagine losing people you love and eventually passing on yourself. At the same time, I have friendships going back 25 or even 30 years, I’m in love, I make records, and I have plans for the future. As I say in the last song on the album, I want to celebrate all of this—the friendships, loyalty, kindness, and love.

Let’s end this interview with some of your favorite albums. Have you found something new lately that you’d like to recommend to our readers?

It’s not really a young artist, but I just listened to Kim Deal’s new single, ‘Crystal Breath,’ and I think her forthcoming album is going to be great!

Klemen Breznikar

Headline photo: D. Cluzeau

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