Critique Télérama 24/10/2009 Valérie Lehoux

There is something annoying in Benjamin Biolay. His Gainsbourg poses, his wry voice, his orchestral bombast and demonstrative ways why, for example, released a double album without the intention really justified? But there is also something brilliant, or even impressive in this young man of 36 years ... And most troubling is that it is almost the same traits that irritate us and seduce us! Its very dark aesthetic, and ultimately very attractive; his writing naked, opening on disillusionment abysses; his musical refinement, mocking fashion to lean toward the 60 (sometimes, we think we recognize the paw of Jean-Claude Vannier, Gainsbourg arranger ...) or even 80 (which still dares such sax solos? ).

And then there was his melodies, circular, swirling that snatch and that wrap to give vertigo. The Superb is full of it; better, it delivers real gems: the opening track, very cinematic, intriguing entry in an emotional journey that promises restless. Your inheritance, self portrait hollow without complacency ounce. Brandt Rhapsodie, long dialogue of the deaf where the voice of Biolay crosses that of Jeanne Cherhal, to say the decay of torque with chilling accuracy.

Gone are the neat singer beginnings, so here are more than ever on the go, incisive and fragile, which proclaims bluntly "I no longer believe in anything." Whether sincere or tinted provocation, Biolay calls and moves one who lends an ear. His sixth studio album may well be long, it is beautiful. Crossed by an artistic ambition and a spirit so rare in the song today we can only bow. Duly noted.