With Omoo, Weibel has created a confection of sound, where the invention and accessibility of the best art-pop mixes with the improvisational fluidity of jazz. Born and bred in Lausanne, Switzerland, but now resident in Brooklyn, Weibel sings in English and French, with her expressive vocals atop loops, beats and soundscapes of her own devising. Along with her winsome originals, she interprets jazz great Wayne Shorter’s classic “Footprints,” adding her own lyrics to the infectious melody. Weibel also covers the lullaby-like “L’heure exquise” by early 20th Reynaldo Hahn, a favorite of Proust. You can see the video for “L’heure exquise”. Osby, contemporary saxophone star and director of Inner Circle Music, says about Weibel: “Emilie has successfully defined a new category for vocal performance art. With Omoo, she presents a world of color and possibilities, while simultaneously raising the bar for solo vocal sound-shaping and improvisation. Her music is amazing at once, and better still after successive listens. It’s impossible to not be moved.” "Weibel is the subtle songbird with an equally mesmerizing presence and a DIY ethos. In her Omoo guise, Weibel—with an assortment of entrancing lo-fi electronics, loop devices, a cheap music box and voice effects—creates minimalist vocal magic, occasionally with a honeyed backdrop of Stereolab-like la-la's but always with an aesthetic all her own that is downright otherworldly. The Village Voice (10 Best Concert of the Week) "What is striking about her show is that she travels light, just her voice, a looper, a sampler, a few essentials to connect the devices to the speakers, a book of poetry by Mallarme, and a homemade music box with a player strip she punched herself. She uses the looper to accompany her own voice with itself and build layers of sound live and mostly in the moment. The effect is exceptionally delicate at times, playfully idiosyncratic, and sometimes stirring, a sort of musical bricolage that reminded me of everything from the Symbolist poets, to Dada and the Futurists,the onomatopoetic conceits and childlike fancies of the “Banquet Years”, and – given the technology she was using – the eccentricities of more recent artists in the vein of *****. The fruitful irony of all these associations is that they add up to something original rather than borrowed." - John Osburn (September 2012)