Reviewing retrospectively for
AllMusic, critic Ned Raggett wrote of the album, "
Bête Noire sparkles as the highlight of Ferry's post-
Roxy solo career, adding enough energy to make it more than
Boys and Girls part two. Here, his trademark well-polished heartache strikes a fine balance between mysterious moodiness and dancefloor energy, and Leonard adds more than a few tricks that keep the pep up." The critic
Robert Christgau wrote of the album, "As with
Mick Jagger, of all people, the signal that self-imitation has sunk into self-parody is enunciatory ennui—vocal mannerisms that were once ur-posh are now just complacent."
Billboard wrote of the album, "Former Roxy Music maestro's much-awaited follow-up to "Boys And Girls" harbingers well for his new association with Reprise. Like past Ferry solo efforts, this displays the singer/writer's usual suaveness; tunes hinge on his familiar theme of l'amour moderne on the rocks. Tracks are uniformly solid, although "Kiss & Tell" and "Seven Deadly Sins" stand out." Mark Coleman reviewing for the
Rolling Stone Album Guide stated "
Bête Noire could use one solid melody. As hushed and haunted as ever, Ferry's deeply evocative voice nevertheless gets lost amid the grandiose and antiseptic musical trappings of the digital recording era.
Bête Noire is depressingly tasteful and restrained—state-of-the-art rock wallpaper." Ira Robbins of the
Trouser Press commented "The similarly restrained
Bête Noire confirms Ferry's commitment to innocuous sophistication. That wonderful voice is his sole asset: what he's singing is all but irrelevant. But this record's stronger melodic development and a wider variety of danceable tempos than on
Boys and Girls are palpable signs of life; the involvement of ex-Smiths guitarist Johnny Marr as a player and the co-writer of one near-exciting song ("The Right Stuff") is another positive touch. In the end, given one's diminished expectations,"Limbo," "Kiss and Tell" and "Day for Night" are coolly inviting and likable enough. ==Track listing==