Camille Poliquin, the creative force behind the Juno Award-winning project KROY, is a woman of many talents. A published writer, creative director, and acclaimed musician, Camille has been a driving force in Montreal's independent arts scene since 2012. Known for her soaring vocals, synth-pop melodies, and brooding lyrics, KROY crafts a sonic landscape that is both delicate and haunting, exploring themes of love, sadness, and death with a captivating vulnerability.
Eight years after her debut album 'SCAVENGER', KROY returns with 'MILITIA', a deeply personal album a decade in the making. In this interview, we dive into the creative process behind 'MILITIA', explore KROY's diverse influences, and uncover her future aspirations.
KROY, it’s fantastic to catch up with you. How did you first start making music? Where did it all begin?
“I grew up in a very musical household. My siblings and I all studied music and art history in elementary school, and I remember taking my first piano lessons at four years old. The first song I wrote was a very star-crossed lovers-type situation about a dreamy boy at school, and my sister offered me two dollars to buy the rights to it. It is now hers.”
“I then went on to study Orchestral Jazz Composition after high school as well as Jazz Vocals. I met so many people there and the rest is kind of history. I started playing the keys and back vocals in bands, and my confidence grew into me coming out with my first KROY EP in 2014.”
How would you describe your sound, especially with the new album?
“Always a tough one to answer. I feel like you’d get a more nuanced and unbiased answer from someone who didn’t write the stuff. But I’d say it’s some dark Alternative Avant-Pop that sometimes steers into some hyper-pop moments. Infused with Trip-Hop and Shoegaze. But always sad and a little spooky.”
Are there any big influences that help define your music?
“I was an emo kid in high school (only emotionally, although I did have the side part bangs) so during my musical coming of age (I think we are all scarred and raised by what we listened to between the ages of 12 and 17) I listened to a lot of Death Cab, The Used, MCR, but I was also a pop ultra fan, so anything Timbaland produced, best believe I knew all the words and the production had me in complete awe. And then later on I was introduced to Slowdive and Low and Massive Attack and such. AND THEN when I was studying music, James Blake came out of the woodwork so that definitely took me in another direction. Anyway, all that to say, I don't have clear influences. I feel like everything I've ever listened to has had and continues to have an impact on me and my work.”
Can you tell us a bit about your new album?
“’MILITIA!’ My new record I just released :)
“It’s a collection of songs I've written over the past 10 years. It was supposed to be released in different iterations at different times, and something always came up. I think I need to learn to manage my time and prioritise myself better. ANYWAY.”
“’MILITIA’ is 12 songs that kind of take you on a journey of who I was and who I’m becoming over the past decade. Although I'd like to think I've grown and changed, there’s something bittersweet about realising that the things I write about always come from the same place. Feeling betrayed, being lied to, putting my heart out on the line and finding it completely shattered. And also realising I’m definitely to blame for a lot of it. The way I trust people and am completely blind to red flags. So, the journey is kinda circular in the end. But here’s to hoping the layers start getting lighter and lighter.”
“Musically, it’s also somewhat of a trip through who I've been musically over the past years. There are some more analogue and acoustic vibes, some hyper digital moments, and some more “orchestral” (I don’t have an orchestral budget so I make do with what I got) moments. I would say it’s very much a “where I’ve been” type album, and has me excited to work on something a lot more concise next.”
What is your songwriting process? How does it all come together?
“It somehow just comes together! I find that a lot of the time it just bubbles up to the surface at any given time. I could be doing laundry, walking on the street, or in a loud bar. Sometimes I just have a part of a song that comes up and I have to step aside to record it. It usually comes with both lyrics and melody at the same time. I’ve noticed that if I sit down at my wurli and try to have a “songwriting” session it comes out a lot more pop. And I really like when my songs feel more like a secret. Something that’s dying to be known, rather than a writing process, which I like to keep for other projects.”
What’s the most important thing for you when you’re writing a song?
“Emotional authenticity. This can be quite hard to assess from the outside because I definitely write in hyperbole, but to me, it’s really important that I honour the extent and grandiosity of how I'm feeling. And if that means I come up with a murder analogy, then so be it.”
A few quick-fire questions before you go - what would your dream collaboration be?
“Grimes. Sevdaliza. Yeule. Grouper. Oneohtrix Point Never.”
What has been your best moment as a musician so far?
“So hard to say! Because everything I do is “as a musician” and so many amazing things have happened to me! Getting to tour my project, and for people to show up to the shows is a STUNNING feeling. I absolutely love it. But also getting to score films and TV series has me in a state of such pride and strength, I feel like I’m growing so much as a composer, and that instructs my work as a producer, and vice versa. I’m really lucky i get to do both.”
What’s next for you as an artist?
“Performing! I really want to perform this album as much as I can. I’m also scoring a new TV Series in the spring, and the premise is really fun and I'm gonna get to use a lot of vocals in there so I'm excited. ALSO, I work with robotics and like to teach humongous robot arms to play acoustic instruments. So, I have more of that coming in the spring as well.”
'MILITIA' is a sonic tapestry woven from threads of KROY's past and present, with songs rooted in her late teens sitting alongside those written at the dawn of her 30s. Each track is imbued with a raw honesty, reflecting different facets of mania and depression and charting Camille's evolution through her twenties. This album is a testament to her journey – gathering confidence, losing it entirely, and trying on different personalities, only to arrive back at her core: a self-proclaimed "sad sad girl" with a love for life and a fascination with death, cars, and robots.
It's clear that KROY's journey is far from over. With a new TV series to score and her ongoing exploration of robotics in music, Camille is constantly pushing the boundaries of her creativity. 'MILITIA' is not just an album, but a testament to KROY's artistic evolution, a raw and honest exploration of selfhood wrapped in a captivating sonic landscape. We eagerly await the next chapter in this exciting journey.
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