Oh my God, this song is a jewel! It is the most eloquent and descriptive longing for Love Mylene has ever produced. It is not wrapped up into half-phrases, ambiguous words, subconscious hints – it is in the contrary, as straight forward and externalized as it can come out of Mylene. Shocker really – a beautiful beautiful shocker! Speaking of – please check out the Orchestral Variation – Instrumental Version of this song by Polyedre – it’s beyond any words – just GORGEOUS!!! I am listening on replay like 10 times while I am writing this.
J’attends (I am waiting) is a song # 12 from the album Avant que l’ombre… released on 4 April 2005.
On December 16, 2004, for the first time in her career, Mylène Farmer organized a press conference to announce the new album.
Mylène had not appeared on television since her performance at the “NRJ Music Awards” in January 2003. This press conference took place in the “France Amériques” lounges near the Champs Elysées. About fifty journalists were invited. Thierry Suc says a few words in the introduction before Mylène joins him. Very smiling, she is dressed in a white jacket and mini skirt created by the Italian designer with black thigh high boots.
She joins the table set up on a stage, surrounded on the left by Laurent Boutonnat and on her right by Thierry Suc. Dominant color chosen red (lights, background behind the stage). Red will also be the predominant color on the cover of the future album. This press conference will be broadcast almost entirely on MCM. Extracts will be included in the “6 minutes” on M6 and the program “We are not angels” on Canal +.
This press conference announces the release of the new album but also, and above all, the next concerts in Paris Bercy.
The lyrics of the song J’attends were written by Mylène Farmer. Music, production, programming, keyboards and arrangements: Laurent Boutonnat
For the text of this song, Mylène seems to have been influenced again by Emily Dickinson poems and particularly by translation by Claire Malroux.
When the poet writes: “Sometimes with the heart / Not often with the soul / More rarely with force / Few really love”, Mylène for her part sings: “Sometimes with the heart, tears / Very few really love! / If little often with the soul / It is that few really love “.
“To wait for eternity is short / If love is at the end.” can we read from the pen of Emily Dickinson, words which echo: “J’attends tout … / L’amour est au bout” in Mylène’s song.
Finally, the chorus begins with: “I’m waiting / That the heart wins” while Emily Dickison also wrote on her side: “My heart wins“.
REVIEWS for the album:
“Casually, Mylène has changed. She, who until then had danced so beautifully on the razor’s edge of a sulfurous discomfort, seems to have finally reached maturity. A maturity which translates into a desire for happiness (J’attends, Tous ces combats) and a little side that gives lessons (Porno…Graphique) quite surprising. As if the frail diva had made peace with her inner demons, stopping to fight them to, finally, live with them. ” (Rolling Stone – April 2005)
“Laurent Boutonnat the longtime accomplice took care of the music: we find beautiful ballads (Avant que l’ombre…, J’attends) ” – 04/25/2005)
As for the first single extracted, this album will divide the fans like no other before: many regret the absence of musical renewal at Laurent Boutonnat, the predominance of somewhat similar ballads while others emphasize that this album and in particular texts are in symbiosis with the happiness that Mylène knows in her private life and appreciate the originality of certain titles like PornO… Graphics , Nobody knows , all this giving rise to sometimes heated but passionate debates between fans
The press is also divided but we note very favorable reviews (“Le Monde”, “Rolling Stone”, “Here”) rather unusual for Mylène, rather battered by the critics with each new album.
“Mylène Farmer calmed and radiant” title “The world” which writes that the “singularity of the musical and thematic universe of Mylène Farmer and Laurent Boutonnat is not upset but refined” in “a balance between song to dream or to cry”. The daily also notes that the voice of Mylène which could in the past be “drowned in an orchestra” is “here conquering, full” passing through “an extended palette.”
Same enthusiasm of “Rolling Stone” with regard to Mylène’s voice which “passes, with this grace which belongs only to her, from a high-pitched or whispered song to a deeper voice and a very mannered articulation.” The musical magazine notes that “Mylène has changed” with a “) and a little side that gives lessons ( Graphic Porn ) quite surprising. As if the frail diva had made peace with her inner demons, stopping to fight them, to, finally, live with. “
A change also highlighted by” Here “under the spell of” Mylène’s unique voice trickle blowing the words as confidences that one imagines being the only one to share with her “without forgetting the” quality of the texts “to the point that the weekly headlines:” Obsédée textuelle. “
The change is less noticeable for” Télé 2 Weeks “which , although seduced by “a less reworked voice, more sober arrangements, softer lyrics and smiles”, qualifies the album as “non-revolutionary”) but also songs that “smell of warmth” and “even old-fashioned arrangements”.
Opinion more mixed also for the “Sunday newspaper” which speaks of “banal variety coated with a poetry a little pretentious, limit pompous” but retains all the same a “handful of beautiful songs like the luminous Love is nothing , All these fights , the bleak tribute to Virginia Woolf ( In the streets of London ) “with a” Mylène Farmer to the best of her inspiration, touching lyrics, evocative melodies. “
Finally, the change often put forward is really not perceived by “Télé Star” which speaks of “vaporous” arrangements for “songs which resemble and resemble each other” or by “Avantage” which writes: “Nothing new in the words as in the music “.
J’attends has never been performed in concert. It is a bit of an orphan from this beautiful album. And that’s the thing: since the album is so full of amazing songs, this one is kind of slipped through the cracks. Would it be released in the different company – it might shine much brighter. Alas, as a result its on the bottom of your favorite ratings. Lately, I have been covering many of such “orphan- songs” and my heart aches for them being underappreciated. Take a closer look or should I say, listen…
p.s. If you are wondering where all those different covers for the song came from – they are entered into the single cover context on www.innamoramento.net which was open to public a few times through Mylene’s career. Which one is your favorite?
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lyrics with translation
Parfois avec le coeur, les larmes
Bien peu aiment vraiment!
Si peu souvent avec l'âme
C'est que peu aiment vraiment
Amour à moi,
Je ferme les yeux
Sur les dernières nuits
Qui nous séparent. Qui nous unit?
Je serre de mon mieux
Du plus que je puis
Un amour qui m'a... Envahi
Que le coeur l'emporte
J'attends qu'il frappe à ma porte,
L'amour est au bout
Est bien en nous
Près d'un mur de lierre.
Passer à coté de sa vie
Se mentir des vies durant,
T'aimer parce que c'est aujourd'hui
C'est ce qui compte vraiment
Amour à moi
Viens, ferme les yeux
Sur nos premières nuits
Rien ne nous sépare, tu m'as dit:
"Je serre de mon mieux
Du plus que je puis
Je t'étreins pour deux, tu es ma vie".
Sometimes with the heart, the tears
Very few really love!
So often with the soul
It is that few really love
I close my eyes
On the last nights
That separate us. Who unites us?
I hold on as best I can
As much as I can
A love that has... Invaded
I am waiting
For the heart to take it away
I wait for it to knock on my door,
I'm waiting for everything...
Love is at the end
Is well within us
I am waiting
By a wall of ivy.
To miss out on your life
Lying to yourself for lifetimes,
Loving you because it's today
That's what real
Love to me
Come, close your eyes
On our first nights
Nothing separates us, you told me:
"I'm holding on as best I can
As much as I can
I embrace you for two, you are my life"