Michel Abalain a.k.a. Michel Goes Green is a proficient artist who has showcased his talent with his music creations. One of his excellent works is the EP, ‘Boumeur II’. The brilliant songs of this EP have amazed every music enthusiast. It is his innovative way of making music that led him to gain more attention. The excellent arrangement along with the raw vocals of the tracks brought back the nostalgia of 70s music. Recently, we got the chance to have a chat with Michel, and this is how it went:
DMR: Hello, Michel Goes Green, would you like to say something about ‘Boumeur II’?
Michel: It’s a record born from a very specific moment in time, a handful of unpolished, quiet tracks recorded with my long-time collaborators Alexandre Laderoute and Aurélie. Where our earlier material was about grand baroque pop arrangements, Boumeur II captures a darker, more exhausted atmosphere that we sat on for years before letting people finally hear it.
DMR: What inspired you to make this EP?
Michel: It was about pursuing a mood rather than a hit. We were wrapping up a long creative cycle (Boumeur I), feeling a bit burned out, and I wanted to capture the beauty of ideas that felt slightly undone and fragile.
DMR: You describe this EP as a collection of songs that were ‘too shy’. Why did you say so?
Michel: Because they lacked the basic self-esteem to demand attention. Back when we recorded them, my collaborators weren’t even sold on these five tracks. They found them too private, too structural, or simply too miserable compared to what we originally planned. They felt like diary entries we were too hesitant to publish, so they hid on a drive.
DMR: What was the journey of making this EP?
Michel: It was unapologetically imperfect. We were tired, so most of the vocal takes you hear are literally the first or second run-throughs. On “Rêves Brisés,” there was a technical flaw in the vocal tracking, so instead of scrapping it or re-recording, I ran it through heavy distortion to turn an error into an atmospheric feature.
DMR: What makes the songs of ‘Boumeur II’ different from others, according to you?
Michel: Their vulnerability and structural risk. The arrangements on songs like “Chanson de Septembre” push into intricate, dense harmonic territories that weren’t always easy to digest, even for the team in the room. It’s a record defined by high-concept musical ideas meeting absolute physical exhaustion.
DMR: How was the writing journey for you?
Michel: Solitary and introspective. Early on, I was weaving together classical touches and vintage pop colours. By Boumeur II, the writing became far more internal and personal, written during a phase where the group dynamic was naturally starting to shift.
DMR: This project has a heavy effect of 1960s and 1970s nostalgia. Is it the specific era that inspires you the most?
Michel: It’s the production philosophy of that period that moves me: the warmth, the heavy reverb, atmospheric layering, and the willingness to let a full orchestra or an unusual chord progression drive a pop melody. It’s less about mimicking the past and more about bringing that organic depth into modern songwriting.
DMR: How was your collaboration experience for this EP?
Michel: It was tense, honest, and fatigue-ridden. In the beginning, working with Alexandre and bringing in Aurélie’s incredible vocal presence was pure magic. By the time we hit Boumeur II, we were running on fumes and arguing over complex arrangements. But that exact friction is what gave the tracks their edge.
DMR: Are you working on any new project?
Michel: The Michel Goes Green vault is far from empty. There’s a wealth of unreleased material and ideas that still carry immense potential, and I’m actively working on bringing them to light. My roots have always been grounded in shoegaze and indie music, so as I pull these archival pieces back out, I’m blending those original wall-of-sound textures with everything I’ve learned along the way.
DMR: You dropped this EP a long time ago. When will your listeners get to hear your voice again?
Michel: When the music is ready, which is entirely at the mercy of my patience. Restoring old archival pieces and building new sounds takes time, but things are happening behind closed doors.
DMR: Are you planning to perform any shows?
Michel: Only if a venue can handle that level of dense, drenched reverb and analog warmth without turning it into a muddy disaster. These tracks live and die by their atmosphere, and unless a setup can properly deliver that space, I’d much rather stay where it’s quiet behind the console.
DMR: Is there any message you’d like to give to your fans?
Michel: Stop trying to fix every flaw in what you create. The mistakes, the fatigue, and the questionable recording techniques are usually the only parts that contain actual human character.
Thank you so much for taking out your time for us. All the very best for your upcoming music releases.
Album Link: https://open.spotify.com/album/1OZh4zNV5gZLNmOa94VSim
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