The Buenos Aires cycle (the Palermo Hollywood and Volver albums) well behind him, here comes the crooner in a convertible, with Keren Ann, Chiara Mastroianni, and Anaïs Demoustier in the back seat. Packed with tracks such as “Ma route”, “Comme une voiture volée”, “Virtual Safety Car”, “La roue tourne”, “Interlagos (saudade)” and even “Grand prix”, Benjamin Biolay’s ninth album is a road trip in the figurative, yet almost literal, sense. Car racing was the poetic point of departure, and the first song was written shortly after the accident of the driver Jules Bianchi at the Japanese Grand Prix in 2014, which he succumbed to nine months later. John Frankenheimer’s 1966 film Grand Prix would also have been a source of inspiration for this album with its multiple accelerations, braking, sharp turns, skids, drifts, and contemplative sequences at the controls of the metaphorical car. Predictable from the outset, this theme could have been a string of trite clichés… but it’s far from that. It’s about the sacrificial consequences of stardom, leading its famous protagonists to personal lives that are certainly enviable in the eyes of their fans, but also seriously risky in their impulsive actions and chaotic journeys that last until the break of dawn. Also of note are the wise reflections on the collapse of certainties over the course of one’s existence, as well as the depth of the songwriting from end to end of the exercise. Rather rock on the whole, Grand Prix does the circuit of krautrock, post-punk, and Britpop, and also electro-pop, disco-funk with a touch of jazz, Gainsbourgian pop and musica popular brasileira. Guitars, synthesizers, bass, percussion, string sections, choirs, and other instrumental complements serve the dark, seductive voice and chiselled verbs of Biolay, an eclectic composer, refined and sensual arranger, and brilliant producer. Once again, some excellent French pop, served Biolay-style.
Latest 360 Content
Album review Rock/expérimental / contemporain/Instrumental/métal progressif 2024
Hybreed Chaos – Subliminal Abyssal Carnage
By Laurent Bellemare
Album review Experimental / Contemporary/expérimental / contemporain 2024
Senyawa – Vajranala
By Laurent Bellemare
Interview Indigenous peoples
International First Peoples’ Festival 2024: let’s chat about the programming
By Frédéric Cardin
Concert review Africa/latino/Americana
PAN M 360 at Nuits d’Afrique 2024 | Final Evening With a Congolese and Colombian Flavour
By Jacob Langlois-Pelletier
Concert review Africa/Caribbean/Reggae/Soul/R&B
PAN M 360 at Nuits d’Afrique | A Look Back at Rutshelle Guillaume’s Closing Triumph
By Rédaction PAN M 360
Album review Jazz 2024
Domas Žeromskas – Meditations on Providence and Perseverance, Vol.1
By Frédéric Cardin
Album review expérimental / contemporain/Jazz/Spoken Word 2024
Catharine Cary – AIR CAKE and other summery occupations
By Frédéric Cardin
Interview Classical/classique/trad québécois
Festival de Lanaudière 2024 | Tribute to Mémoire et Racines against a backdrop of trad/classical reunion
By Frédéric Cardin
Concert review Africa
PAN M 360 at Nuits d’Afrique – Les Aunties, from Ndjamena to Montreal
By Sandra Gasana
Concert review Africa/Hip Hop
PAN M 360 at Nuits d’Afrique – Fredy Massamba Was Blessed with Some Rain
By Sandra Gasana
Concert review Classical/classique
Festival de Lanaudière 2024 | OSM/Levanon : game saved in the second half
By Frédéric Cardin
Concert review Africa/Indian Ocean/Maghrebi
PAN M 360 at Nuits d’Afrique 2024 | Sofaz Grooves!
By Keithy Antoine
Concert review Africa/Caribbean
PAN M 360 at Nuits d’Afrique 2024 | Birth of a Haitian star
By Keithy Antoine
Concert review Africa/Sacred Music/Hip Hop/Reggae
PAN M 360 at Nuits d’Afrique 2024 | Joyce N’sana On The Rise
By Keithy Antoine
Concert review Africa/Caribbean