INSONDABLES

Insondables (unfathomable) is a song from Mylène Farmer’s tenth studio album, Interstellaires released on 6 November 2015

The lyrics to Insondables were written by Mylène Farmer. Music composed by Martin Kierszenbaum and Mylène Farmer. The lyrics live up the song’s title perfectly…It is as vague and unfathomable as they can get…more questions than answers, more speculations then real understating of her inspirations. Gala magazine has found that the song is inspired by the famous Hollywood movie “Ghost” with Patrick Swayze, Demi Moore. I personally love the movie but I I have not found any confirmation about that from Mylene herself. So all I will say – maybe…

For me although the song is an “orphan” (never been sang live, never promoted anyhow and beyond the popularized MF masterpieces) perhaps because of that its even more dear to my heart. It feels like Mylene as i would know her (melancholic, fascinated and tariffed by time, losses of the loved ones and death)

On October 28, 2015 at Midnight, a surprise online publication on legal download and streaming platforms of a second single (after Stolen Car) from the album Interstellaires.

This is the title Insondables which has a specific cover with an unpublished photo of Mylène by Ralph Wenig.

On October 28, 2015 YouTube channel MylèneFarmerVevo (make a bookmark of it in your web browser if you haven’t yet)
uploaded of the clip for the song Insondables directed by Eve Ramboz and Annie Dautane particularly rich in references to the universe and the career of Mylène.

Insondables can be considered a promotional single for the Interstellaires album which was released on November 6, 2015 (after the first single extracted from Stolen Car with Sting, on radio and available digitally since August 28). The song was not sent to the radios. No physical promotional or commercial support.

This video contains many nods to Mylène’s career, to her life but also to artists that she probably particularly likes.
We remember that the scene images of Timeless 2013 already included such little winks, such as drawings of Mylène hidden in the backdrop of À l’ombre .

References or nods to Mylène’s career The eye from the introduction to Entre les Morts du Tour 2009 Necklace from the photo of the ‘

album Interstellaires

I

The importance of horses in Mylène’s life and career, for example the clips Libertine, Pourvu qu’elles soient douces or Je te dis tout.

A reminder of the stairs of the castle of Millemont for the photo sessions with Dominique Isserman in 2004 and with Bruno Aveillan in 2011

Necklace of the Mylenium Tour but also the cage of the cover of the album Innamoramento or the clip Fuck them all but also the dove of the clips Optimistique-moi or also Si j’avais au moins…
This photo is reminding that of the photo of the cover of the single Q.I

We also find the necklace of the Mylenium Tour in this shot of the video in the tree

There even a reminder of Mylène’s fall on the steps of the Elysée Palace on March 2, 2010 while going to have a dinner with Russian president Dmitriy Medvedev (wow – Mylene has courage to laugh at herself!) But seriously , something is wrong with those stairs as she wasn’t the only one tripped there that evening.

In this same image reference to the painting of Géricault Le radeau de la méduse which we know was a source of inspiration for the clip Les mots

A picture of Mylene’s Stolen Car clip with Sting on the newspaper on the chair on the left

A picture of Liloup – Mylène’s dog and the skeletons of the Tour 2009

Possible reference also to the corsets of the dancers of the Tour 2009 and to Russia.

Reference to spider and for Mylène obviously to the song Alice or the video clip C’est une belle journée

The little word of the car of the clip Stolen Car and perhaps to the Mylene’s photoshoot with a nude male model by Catherine Cabrol?

Big red “M” from JE TE DIS TOUT.

Reference to these photos by Hervé Lewis for the Mylenium Tour program

The blue-eyed doll possibly hints to the photo by Hervé Lewis for the poster of the Timeless 2013 tour, to the doll of the photos of the album Point de Suture and the clip Comme j’ai mal

Mylène’s hands on Ralph Wenig’s photo from 2015 (session for the album Interstellar)

The book Fragile by Mylène and Sylvie Lancrenon.

The cross of the backdrop of the song Stitch of the Tour 2009 concerts

The cross of the concerts Avant que l’ombre… a Bercy that we found on the program of the concerts

Possibly a reference to the title Ave Maria ?

And I am sure there are more references – please comment below if you find the ones I didn’t. Like these:

This techniques of the hidden clues was once again developed in the into for the L’Ultime Creation by Tres Cool – beautifully developed!

Second teaser of the album unveiled on the net after Stolen car, this fifth track, which begins with a metronome gimmick, or perhaps a tick-tock (Mylene’s favorite theme), evokes the separation, the loss of the other, the absence of a a loved one who sometimes invades everyday life and feeds regrets…
The lyrics live up the song’s title perfectly…It is as vague and unfathomable as they can get…more questions than answers, more speculations then real understating of her inspirations.

With this title, Mylène proves her ability to sing on the breath, a vocal feat that she now masters – thanks to her vocal coach Karen Acampora Nimereala (who also happened to be Sting’s coach along of many famous pop stars).

A song promotion exclusively limited to the internet. And not a wonder since Mylene was recovering after a fractured leg and didn’t appear on public much.

” Mylène Farmer seems to have laid down her arms, to have freed herself from artifices by opting for simpler arrangements like on Insondables, where she evokes the loss of the loved one. ” ( La Voix du Nord – 11/07/2015)

“We find 100% farmerian hits Insondables” (Femina version – 11/22/2015)

“This American adventure is sometimes moody with sad Darkening, the bland title concept. ” avoir-alire.com – 06/11/2015

remixes

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

about Karen Nimereala – Mylene Farmer vocal coach

Karen Nimereala (formerly Karen Acampora), an alumni of the Juilliard School, and student of Franco and Loretta Corelli, made her operatic debut with the Dallas Opera singing the role of Violetta in “La Traviata”, Maestro Nicola Rescigno conducting. Since that time she has appeared at Opera houses in the United States and France, where she was acclaimed by critics for her artistic versatility, combining unequaled theatrical abilities, with an exceptionally radiant lyric voice.

In the United States, Karen Nimereala has appeared with the Boston Opera, Opera New England, Columbus Opera, American Opera Center, Brevard Music Center, Chattanooga Opera, and the Bronx Arts Ensemble. At the San Antonio Music festival she appeared as Nora in the World and American Premiere of the opera “The Old Majestic” by Robert Rodriguez. Karen Nimereala was the winner of the American Opera auditions, a finalist in the Loren L. Zachary Awards in Los Angeles, California, and a finalist in the Cravath Foundation Awards in New York. She was awarded a Sullivan Foundation Grant in New York.

In 1998-99 was a period of work on repertoire and voice with Franco Corelli as well asssisting in his teaching studio. She also became an adjunct professor for Sarah Lawrence College in their branch in Paris, France. She performed “La Traviata”, “Manon”, “Rigoletto”, as well as concerts in the U.S. and Europe.

In November 1996, Karen Nimereala gave a recital for “Les Grandes Etapes Francaises” in the Chateau d’Isembourgh. For the final Easter Concert of the “Festival d’Art Sacre de la Ville de Paris” she performed “Christ on the Mount of Olives” by Beethoven with the Ensemble Orchestral of Paris, Jean-Jacques Kantorow director. It was recorded and televised by France 2 from the Church of St. Etienne du Mont.

For the season of 1994-95 there was her debut in the role of Juliette in Gounods’ “Romeo and Juliette” in Dijon, followed by performances of “Rigoletto,” in Toulon and “Le Nozze di Figaro” in Rennes.In March 1992, Karen Nimereala debuted in her first “Manon” of Massenet in Dijon, followed by her highly acclaimed Paris recital debut with members of the Ensemble Orchestral of Paris and pianist Christian Ivaldi at Salle Gaveau in May 1992.

In March 1992, Karen Nimereala debuted in her first “Manon” of Massenet in Dijon, followed by her highly acclaimed Paris recital debut with members of the Ensemble Orchestral of Paris and pianist Christian Ivaldi at Salle Gaveau in May 1992.

During the 1991-92 season in France, Karen Nimereala sang her first Susanna in “Le Nozze di Figaro,” followed by Missia in “The Merry Widow”in French for the summer operetta festival of Lamalou-des-bains. In November 1992 she gave a concert with the Orchestra of Cannes at the Festival of the Abbaye of Saint-Victor in Marseille, followed in December by “The Messiah” of Handel with the Honolulu Symphony in Hawaii.

In January 1990 she debuted in the role of Pamina,”The Magic Flute,” for the Opera of Toulon, followed by Gilda , “Rigoletto” in Dijon. At the end of 1990, Karen Nimereala sang in a new production of “The Merry Widow” in Belgium and appeared in recital at the Teatro San Babila in Milan, Italy.

Karen Nimereala made her French Operatic debut in October 1988 with the Grand Theatre of Dijon in the role of Violetta, “La Traviata”. This debut was followed by the role of Musetta, “La Boheme” in December. In June 1989, she sang a new production of “La Traviata” with the Opera Company of Boston and the company of Opera New England, followed by her debut in the French production of the role Missia in “The Merry Widow” in December with the Opera of Metz, France, directed by Christiane Issartel.

Teaching led her to coaching activities for big stars…. such Mylène Farmer, Sting, and many others in constant search of renewal of her art of singing and music.

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lyrics with translation

Plus rien
N'enchante le monde
Insondables
Sont les flots
Et las, contemple les ombres
Il lui dit à demi-mot

Qu'il l'aime, qu'il l'adore
Qu'il l'aime
Mais le chaos du corps
A ses raisons, a ses remords

Et le ciel est
Sans nuage
Et les jours
Semblent longs
A perdu son point d'ancrage
Il rentre dans sa maison

Il l'aime, il l'adore
Il l'aime encore

Plus rien
N'enchante le monde
Insondables
Sont les vents
Las de contempler les ombres
Un silence assourdissant

Il l'aime, il l'adore
Il l'aime
Mais le chaos du corps
A ses raisons, a ses remords

Et le ciel est
Sans nuages
Et les jours
Semblent longs
Perdu le coeur d'une femme
Et la mort porte son nom

Il l'aime et il l'adore
Il l'aime
Il saignera encore
Jusqu'à sa mort

Nothing more
Enchant the world
Unfathomable
Are the waves
And weary, contemplates the shadows
He tells her in half a whisper

That he loves her, that he adores her
That he loves her
But the chaos of the body
Has its reasons, has its remorse

And the sky is
Without clouds
And the days
Seem long
Has lost his anchor
He returns to his home

He loves her, he adores her
He still loves her

Nothing more
Enchant the world
Unfathomable
Are the winds
Tired of contemplating the shadows
A deafening silence

He loves her, he adores her
He loves her
But the chaos of the body
Has its reasons, has its remorse

And the sky is
Without clouds
And the days
Seem long
Lost the heart of a woman
And death has her name

He loves her and he adores her
He loves her
He will still bleed
Until he dies