The last album of Miossec “The survivors”: a bubbling serenity

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”.

At 54, Christophe Miossec already has a good career and a dozen albums to his credit. A singular writing, a rather minimalist music, and methods of recording and production close to the craft. On the sidelines of the majors, he built himself an atypical career and was able to hook a public, since become faithful. 
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”).

Source: The last album of Miossec “The survivors”: a bubbling serenity

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