CONSENTEMENT


Consentement (Consent) is a song # 10 from the album Innamoramento released on 7 April 1999.

Throughout this chapter I am using images created for the “as if single” contest from https://www.innamoramento.net/mylene-farmer/concours-creations/19


Enigmatic lyrics refer to a budding love which is conjugated with the second-person of plural in French-language (= to address the lover as ‘vous’). To confuse us all completely, the title of the nursery rhyme Ah! Vous dirai-je, maman is also mentioned in song’s lyrics.

Did you know Mylène composed five of the songs on the album (the others obviously being by Laurent Boutonnat):
Pas le temps de vivre,
Méfie toi,
Serais-tu là ?
Et si vieillir m’était conté,
Optimistique-moi

“Having five songs is by no means a claim. It was a wish, they were there and I wanted them to exist. Otherwise, it is a negation of oneself. ” (Mylène Farmer – Top Music – 04/30/1999)

I am honestly giving up on decoding this one. It is so complex that I bet even old man Freud would scratch his bald head…😊 hmm…off the bet though it paints a picture to a full spectrum Oedipus complex.

If Anamorphosée can be characterized as product of Buddhistic outlook the Innamoramento leads us to the deep waters of psychoanalysis.

Let’s remind ourselves a bit about that:

In psychoanalytical theory, the Oedipus complex refers to the child’s desire for sexual involvement with the opposite sex parent, particularly a boy’s erotic attention to his mother. This desire is kept out of conscious awareness through repression, but Freud believed that it still had an influence over a child’s behavior and played a role in development.

Freud suggested that the Oedipus complex played an important role in the phallic stage of psychosexual development. He also believed that successful completion of this stage involved identifying with the same-sex parent which ultimately would lead to developing a mature sexual identity.

According to Freud, the boy wishes to possess his mother and replace his father, who the child views as a rival for the mother’s affections.

The analogous stage for girls is known as the Electra complex in which girls feel desire for their fathers and jealousy of their mothers.

The term Electra complex was introduced by Carl Jung to describe how this complex manifests in girls. Freud, however, believed that the term Oedipus complex referred to both boys and girls, although he believed that each sex experiences it differently.

Freud also suggested that when girls discover that they do not have a penis, they develop penis envy and resentment toward their mothers for “sending her into the world so insufficiently equipped.”

Eventually, this resentment gives way to identification with her mother and the process of internalizing the attributes and characteristics of her same-sex parent.

It was Freud’s views of female sexuality that was perhaps his most heavily criticized. The psychoanalyst Karen Horney refuted Freud’s concept of penis envy and instead suggested that men experience womb envy due to their inability to bear children.

Freud himself admitted that his understanding of women was perhaps less than fully realized. “We know less about the sexual life of little girls than on boys,” he explained. “But we need not feel ashamed of this distinction. After all, the sexual life of adult women is a ‘dark continent’ for psychology.”

Regardless, whether you choose to believe or not into this type of a sexual model, it is not a secret that many people when they young find sexual involvement with someone older very appealing. Perhaps, it is an attempt to heal the unhealed aspect of our deeply seeded Oedipus aspect.

I am not convinced that the gender roles are always opposite. I think it truly depends on each person’s particular relationship with the birth parents or caretakers and as a result their own unique psychological needs.

Ultimately, our life choices are always aimed to fulfill the void and heal the unhealed – whichever shape and form it will take. I think as “vous” as someone older and more respectable, someone you look up to.

Of course, the references to “maman” and a “enfant” seals the deal to me as far as a “role play” but you, my readers, may think differently about the text. Feel free to comment – would love to hear your opinion.

The music starts almost as a church choir and have very angelic feel to it with higher notes which reinforces the idea of innocence though out the song…

Lyrics of Mylène Farmer. Music, arrangements and production: Laurent Boutonnat

“It is in any case erotic. I like the idea of ​​”you”, I like its sensuality. I love the unknown behind this “you”. (…) I like the distance from “you”, I like what that can suggest, both mysterious, this emaciated thing, possibly.” (Mylène Farmer – Top Music – 04/30/1999)

Consentement has never been performed in concert.

Consentement was originally scheduled to be sung on Mylenium Tour concerts in 1999, and the song was even rehearsed (it was to succeed L’Âme-Stram-Gram in the setlist). The song will eventually be discarded and replaced very shortly before the first date by Rêver . Small compensation: Consent will be used as a sound illustration of one of the bonuses of the Mylenium Tour DVD (bonus which reveals the backstage of the tour).




remixes


deep fake

Remixes: https://soundcloud.com/search?q=Consentement%20mylene%20farmer%20remix


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lyrics with translation


Je veux du "vous"
Parce-qu'entre nous, c'est lentement
C'est lent
Le songe est doux
Immensité des sentiments
À perdre haleine
Le "vous" me sied, le vôtre est plaine
Apôtre, j'aime quand le "vous" me fait un enfant
Je veux du "vous"
Quand les dessous sont tutoiements
C'est lent
C'est à genoux
Que je vous vois lécher mon sang
C'est blanc
À qui la faute?
Si le "tu" a tué romance
Le "vous", si j'ose
Parce-qu'entre nous c'est lentement
Vous, où?
Et ce vol mène
Là, où c'est l'apesanteur
Vous, où?
Deux voyelles s'aiment
Là, sous l'accord majeur
Vous, où?
Et ce vol mène
Là, où c'est l'apesanteur
Vous, où?
À pas de loup, j'aime
Quand vous me faites peur
Je veux du "vous"
Parce-qu'entre nous c'est lentement
C'est lent
Le "vous" est vif
Le ventre gonflé de vos débordements
À qui la faute?
Le "vous" se fait suave et tendre
À vous, dirai-je
Maman, que j'aime sa présence
Vous, où?
Et ce vol mène
Là, où c'est l'apesanteur
Vous, où?
Deux voyelles s'aiment
Là, sous l'accord majeur
Vous, où?
Et ce vol mène
Là, où c'est l'apesanteur
Vous, où?
À pas de loup, j'aime
Quand vous me faites peur
Vous, où?
Et ce vol mène
Là, où c'est l'apesanteur
Vous, où?
Deux voyelles s'aiment
Là, sous l'accord majeur
Vous, où?
Et ce vol mène
Là, où c'est l'apesanteur
Vous, où?
À pas de loup, j'aime
Quand vous me faites peur
Vous, où?
Et ce vol mène
Là, où c'est l'apesanteur
Vous, où?
Deux voyelles s'aiment
Là, sous l'accord majeur
Vous, où?
Et ce vol mène
Là, où c'est l'apesanteur
Vous, où?
À pas de loup, j'aime
Quand vous me faites peur


I want some of “you”
Because between us, it’s slow
It’s slow
The dream is sweet
Immensity of feelings
To lose breath
The “you” suits me, yours is plain
Apostle, I like it when “you” makes me a child
I want some “you
When the underneath is tutelage
It is slow
It is on my knees
I see you licking my blood
It’s white
Whose fault is that?
If the “you” killed romance
The “you”, if I dare
Because between us it’s slowly
You, where?
And this flight leads
There, where it is weightlessness
You, where?
Two vowels love each other
There, under the major chord
You, where?
And this flight leads
There, where it is weightlessness
You, where?
In step with you, I like
When you scare me
I want some “you
Because between us it’s slow
It’s slow
The “you” is sharp
The belly swollen with your outbursts
Whose fault is that?
The “you” is sweet and tender
To you, I will say
Mama, I love her presence
You, where?
And this flight leads
There, where it is weightlessness
You, where?
Two vowels love each other
There, under the major chord
You, where?
And this flight leads
There, where it is weightlessness
You, where?
In step with you, I like
When you scare me
You, where?
And this flight leads
There, where it’s weightlessness
You, where?
Two vowels love each other
There, under the major chord
You, where?
And this flight leads
There, where it is weightlessness
You, where?
In step with you, I like
When you scare me
You, where?
And this flight leads
There, where it’s weightlessness
You, where?
Two vowels love each other
There, under the major chord
You, where?
And this flight leads
There, where it is weightlessness
You, where?
In step with you, I like
When you scare me


The page last edited July 8, 2022

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