LA SUPERBE

Description

Sometimes it feels like he only has love. And the consequences weigh heavily on his scale. Benjamin Biolay does nothing like the others and not much to be liked. His records divide opinions, his choice of producers raises eyebrows, and his voice can be irritating at times. Like his mentor Gainsbourg, he provokes many reactions, most of them intense. Indifference would bore him. He finds the industry unfair, and one must get used to it. Imposing twenty-two tracks on a double album as his fifth studio album under his own name is what the English call a "statement." It's take it or leave it. Curiously, he, the acclaimed composer, the sought-after arranger, and the refined string player, first stands out as a lyricist. Surely long pondered in his mind and then his mouth, before coming out, in a spoken word style, like a string of comments on his court affairs and those that the other’s heart has blown up, most of the verses from this Benjamin border on the genius that sleeps within him, which we knew, but a certain form of laziness elevated to the rank of art did not always awaken. A sort of journal on the drift of feelings and the melting of great couple hopes, La superbe multiplies allusions to British pop, which we know he loves (Tu suis mon regard, Prenons le large), but Biolay remains French to the tips of his fingers, which we imagine yellowed by nicotine and remorse. Built around fundamental chords that he loves to make resonate loudly, even under a carpet of strings, the songs are not lacking melodically, especially when the artist agrees to transform his flow of words into rivers of notes (Ton héritage, L'espoir fait vivre) and consents to leave the slam to others. More Gainsbourg than Gainsbarre (Mélancolique) despite his efforts, Benjamin is also responsible here for a perfect miracle. Brandt Rhapsody, no need to beat around the bush, is of the caliber of the generational songs that Etienne Daho filled the 80s and 90s with. In a duet with Jeanne Cherhal, Biolay evokes a relationship communicated through post-its, and points out where it hurts. The targeted ones will recognize themselves.