Her album has gone two-times platinum in France, she’s the only Belgian singer to beat Stromae’s record for most weeks at the top of the Belgian singles chart, and she’s only just getting started in her career. Angèle is a singer-songwriter and musician spinning heads all across Francophone nations with her unique voice. Her songs have become millennial-girl anthems because of her sincerity, sweet disposition, and entertaining videos.
At just 23 years old, the singer has already developed a very recognizable style. Her music is easy listening, her videos are funny, and the genuine nature and authenticity play a huge role in her popularity. For example, the cover of her first album Brol is a little girl smiling to show that her baby teeth have fallen out. For this kind of bluntness and plenty of Instagram videos of poking fun at herself, Angèle has become the singer du jour.
Like a modern-day Françoise Hardy, Angèle depicts a certain innocent reality in her songs. “Tout Oublier,” featuring her rap-artist brother Roméo Elvis, broke a whole slew of records on Belgian singles charts, winning the artist awards and recognition. With an existential vibe the song features a questioning of the simplicity or complication of happiness — a message resonates with Angèle’s audience (and most millennials these days).
The Breton singer returns with his eleventh studio album “Les Rescapés”, released on September 28th. If Christophe Miossec has always been a little apart in the French song, it seems with this opus have found a certain serenity, but always with an inner urgency that pushes him to write and compose, again and again. A music he describes himself as “organic”.
His last album “The survivors” (Columbia) released September 28, reflects both an assumed serenity and an internal revolt always present.
The first song opens with a statement of urgency: “we are the survivors, we are the survivors” sings Miossec. The text echoes the current issues, be it climate change or migrants.
But the singer also describes it as a very personal song. Because he considers himself a miracle worker who has been able to continue to work, despite a sinuous path, off the beaten path.
An album recorded in trio over three distinct periods
“The survivors” was built from May 2017 to April 2018, in three distinct periods.
Brest first with Mirabelle Gilis and Leander Lyons. Old-fashioned recording sessions with “pre-program” instruments: a piano, organ, mellotron, and an Elka branded Italian drum machine. Always this desire to remain “organic”, to propose a carnal music, with flower of skin.
Then second stage at Badabing studio by Julien Delfaud where the songs are recorded live, with Mirabelle Gilis again, but also Laurent Bardainne and Sylvain Daniel. The pieces take shape with the added bass more present.
Finally, the Garage studio for the mixing phase with Dominique Ledudal. Miossec adds all the guitar parts, which he plays himself.
The singer from Brest considers this album as his most personal music since “Drinking” in 1995. Witness this other shock song, “the sea”, which, again, refers to the dramas of migrants. The clip shows us the innocence of two kids on a rubber boat, but that seems lacerated by bites: “The sea, when it bites, it’s mean”.
This uncompromising and sharp writing sometimes gives way to more lightness (“The man”) and benevolence (“People”).
The music is also more catchy on “I became” and manages to stay groovy even on the darker themes (“We die”, “The infidels”).