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French Music - Released October 19, 2009 | Naive

Booklet Distinctions 4F de Télérama - Victoire de la musique - The Qobuz Ideal Discography - Sélection Les Inrocks
Hailed as the wunderkind of a new generation of French songwriters, Benjamin Biolay has often divided opinion, as his undeniable talents are not always exempt from narcissism. His sprawling double-album La Superbe will provide both admirers and critics with plenty of ammunition. While many contemporary French artists have unabashedly attempted to present themselves as the natural heir to Serge Gainsbourg, Biolay is arguably the strongest contender to the throne. He is a consummate master of the sultry boy/girl dialogue against an ostinato motif of swirling strings that Gainsbourg patented in the '60s, and that since the '90s has seemingly become the Holy Grail of a hefty chuck of the alternative scene (Pulp, Divine Comedy, Tindersticks, Blur, Portishead, Placebo, Suede, etc.). Nowhere is this more evident in La Superbe than in "Brandt Rhapsodie," where Biolay and Jeanne Cherhal act out an entire French film of the "couple conversation" genre inside of a five-minute pop song, with results that are -- much like those films -- as seductive as they can be infuriating. The same applies for much of this album. Biolay is clearly at the top of his game as a composer and arranger, and indeed La Superbe sounds like the ultimate decalogue of French sensuality, but there is a limit as to how many long-winded, cinematic, spoken monologues on sex, the futility of life, and languid bitterness a record can hold. This ambitious but definitely self-indulgent project plays almost like a suite and can too easily become a sensuous sonic blur, one where it becomes hard to discern individually memorable songs. It should be noted, however, that La Superbe was greeted with rave reviews in France, many judging it to be Biolay's masterpiece. Still, in spite of its impeccable realization, one cannot help but to recommend the perfect pop conciseness of early Biolay albums, such as Rose Kennedy or L'Origine, to the lush abandon and excess of La Superbe. ~ Mariano Prunes

French Music - Released June 21, 2010 | Naive

Distinctions 4F de Télérama - Victoire de la musique - The Qobuz Ideal Discography - Sélection Les Inrocks

French Music - Released June 13, 2011 | Naive

Booklet Distinctions 3F de Télérama - Sélection Les Inrocks
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French Music - Released November 5, 2012 | Naive

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Pop - Released April 7, 2003 | Parlophone France

Distinctions The Qobuz Ideal Discography
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Rock - Released June 10, 2013 | Naive

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Pop - Released September 10, 2007 | Parlophone France

Trash Yéyé, the fourth album from French singer Benjamin Biolay, was released in September of 2007. The title, a reference to the bubbly yé-yé style of music popular in France during the 1960s, is not to be taken literally. The album was recorded over the course of two years, partly in the United States. The end result of those two years were 57 tracks, eventually narrowed down to the 12 found on Trash Yéyé. From the first strains of "Bien Avant" through "De Beaux Souvenirs," Biolay's deep, recognizable voice resonates throughout. ~ Celeste Rhoads

Pop - Released March 25, 2005 | Parlophone France

Following his Home duets album with wife Chiara Mastroianni, and Clara et Moi soundtrack, A L'Origine is the fourth solo studio LP from French singer/songwriter Benjamin Biolay. Influenced by the likes of Serge Gainsbourg and Etienne Daho, its 12 jazz-pop nouvelle chansons includes the single "Mon Amour M'A Bais." ~ Jon O'Brien

French Music - Released April 22, 2013 | Naive

Pop - Released November 23, 2011 | Parlophone France

Pop - Released May 21, 2001 | Parlophone France

Pop - Released March 16, 2007 | Parlophone France

Pop - Released February 28, 2003 | Parlophone France

Pop - Released March 3, 2008 | Parlophone France

Pop - Released November 19, 2007 | Parlophone France