Budet rose to fame on MySpace when she posted a song titled "Short Dick Cuizi", dissing Cuizinier, a member of the Parisian hip-hop group TTC.
With producer and close friend GrandMarnier, Budet has recorded a début album Pop-Up, after her hit single "Je veux te voir" (a finalised version of "Short Dick Cuizi"). The song, which samples the bassline from 20 Fingers' 1994 club hit Short Dick Man, received heavy airplay on MTV. She was also featured on Fatal Bazooka's song "Parle à ma main" in 2007. In February 2008 she performed the track "À cause des Garçons" on the BBC Three series "Lily Allen and Friends". The series claimed that this was her first appearance on UK television. She was MTV's 'Artist of the Week' for the week of 24th March-30th March 2008, appearing during adverts.
Yelle's second single "A cause des garçons/ACDG" is a cover song from an homonym 80's French band. A remixed version of the track by Riot in Belgium was featured on the soundtrack of Electronic Arts' computer game; Need for Speed: ProStreet. The song was also used as the opening song for the Moschino Spring Summer 2008 runway show
As of 2008, it is also featured in an advert being broadcast in Quebec for Telus, a Canadian telecommucations company and the 24th March episode of 'The Hills'. Her single "Je veux te voir" was featured on the series 4 final episode of Entourage, in the opening scene when the gang arrives in Cannes, and her single "Ce jeu" was played on Gap's and H & M's shop soundtrack in summer 2008.
The DJ Tepr has been touring with her and already remixed three Yelle's songs "A cause des garçons/ACDG" , "Je veux te Voir/Short Dick Cuizi" and "Ce Jeu".
Sites: YouTube, SoundCloud, Discogs, MusicBrainz, Wikipedia, Deezer, Twitter and www.yelle.fr (official)
Je t'aime encore
Yelle Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Pam, pam
Pam, pam
Ça fait quinze ans que j'te fais l'amour, tu m'regardes toujours pas
Je te tourne, tourne, tourne autour mais tu ne me vois pas
Je parle pourtant la même langue, je la défends à tour de bras
De Tokyo à Portland en passant par Barcelona
Quand je m'exporte, j'explique rien, j'ai pas besoin de m'expliquer
C'est peut-être là, la vérité, tu t'poses beaucoup de questions
Ou peut-être, peut-être pas assez et c'est moi qui suis vraiment con
Je t'aime encore, je t'aime encore, je t'aime encore
Je t'aime encore, je t'aime encore
Je t'aime encore, je t'aime encore, je t'aime encore
On s'est connus sur un malentendu, on a aimé ça
À c'qu'il paraît ça dure trois ans, après, après c'est plus là
On s'habitue, on se plaît mais c'est pas, c'est pas comme avant
T'as l'impression qu'j'ai changé, j'ai l'impression qu't'as plus vingt ans
J'écris mon histoire ailleurs pour avoir des choses à te dire
J'te l'ai jamais dit d'ailleurs à quel point, quel point je t'admire
Tu t'enroules dans c'que tu sais comme dans couverture de survie
Elle est brillante, elle te plaît mais pourquoi, pourquoi tu la suis?
Je t'aime encore
Je t'aime encore, je t'aime encore, je t'aime encore
J'ai exploré les continents, on m'a donné ma liberté
La statue entre les dents, je ne l'ai, je n'l'ai pas volée
Demande à mes amours fidèles comme c'est bon de s'retrouver
Je sais qu'j'suis pas la plus belle mais je suis la sincérité
Je t'aime encore, je t'aime encore, je t'aime encore
Je t'aime encore, je t'aime encore
Je t'aime encore, je t'aime encore, je t'aime encore
Je t'aime encore
Je t'aime encore, je t'aime encore, je t'aime encore
Je t'aime encore, je t'aime encore
Je t'aime encore, je t'aime encore, je t'aime encore
The song "Je t'aime encore" by Yelle is about a woman who has been in a relationship for 15 years, but her partner doesn't seem to notice her efforts to communicate and connect with him. She speaks the same language and defends it fiercely, but still feels like an outsider in her own relationship. She has traveled around the world, but still feels misunderstood by her partner. They met on a misunderstanding and the passion has faded over time, but she still loves him deeply and admires him.
Despite feeling frustrated and disconnected, the woman in the song continues to love her partner and express it repeatedly. She has explored the world and gained her freedom, but still values the loyalty and connection she shares with her partner. The lyrics are filled with conflicting emotions of love, frustration, admiration, and sadness.
Overall, the song is a poignant exploration of the complexities of long-term relationships and the struggle to maintain connection and passion over time. It speaks to the universal human experience of longing for love and connection, even when it seems elusive.
Line by Line Meaning
Ça fait quinze ans que j'te fais l'amour, tu m'regardes toujours pas
Despite making love to you for fifteen years, you still do not notice me
Je te tourne, tourne, tourne autour mais tu ne me vois pas
I revolve around you but you are blind to my presence
Je parle pourtant la même langue, je la défends à tour de bras
Even though I speak the same language and uphold it proudly
De Tokyo à Portland en passant par Barcelona
From Tokyo to Portland and even Barcelona
J'fais des efforts, j'explique bien, je suis sûrement inadaptée
I try hard, explain myself well, but perhaps I am just incompatible
Quand je m'exporte, j'explique rien, j'ai pas besoin de m'expliquer
When I venture out, I don't explain myself, as I don't need to
C'est peut-être là, la vérité, tu t'poses beaucoup de questions
Perhaps that's the truth- you ask too many questions
Ou peut-être, peut-être pas assez et c'est moi qui suis vraiment con
Alternatively, maybe you don't ask enough, and it's me who's stupid
On s'est connus sur un malentendu, on a aimé ça
We met on a misunderstanding, and we enjoyed it
À c'qu'il paraît ça dure trois ans, après, après c'est plus là
It seems that it lasts three years, then it disappears
On s'habitue, on se plaît mais c'est pas, c'est pas comme avant
We get used to each other, we like each other, but it's not the same as before
T'as l'impression qu'j'ai changé, j'ai l'impression qu't'as plus vingt ans
You feel like I have changed, and I feel like you're no longer twenty
J'écris mon histoire ailleurs pour avoir des choses à te dire
I explore the world to have something to talk to you about
J'te l'ai jamais dit d'ailleurs à quel point, quel point je t'admire
By the way, I've never told you just how much I admire you
Tu t'enroules dans c'que tu sais comme dans couverture de survie
You wrap yourself up in what you know, like a survival blanket
Elle est brillante, elle te plaît mais pourquoi, pourquoi tu la suis?
It's brilliant, it pleases you, but why, why do you follow it?
J'ai exploré les continents, on m'a donné ma liberté
I have explored continents, and have been granted freedom
La statue entre les dents, je ne l'ai, je n'l'ai pas volée
The statue between my teeth, I did not steal it
Demande à mes amours fidèles comme c'est bon de s'retrouver
Ask my loyal loves how good it feels to reunite
Je sais qu'j'suis pas la plus belle mais je suis la sincérité
I know that I'm not the most beautiful, but I am sincere
Je t'aime encore
I still love you
Je t'aime encore, je t'aime encore, je t'aime encore
I still love you, I still love you, I still love you
Je t'aime encore
I still love you
Je t'aime encore, je t'aime encore
I still love you, I still love you
Je t'aime encore, je t'aime encore, je t'aime encore
I still love you, I still love you, I still love you
Lyrics © O/B/O APRA AMCOS
Written by: Julie Budet, Jean-Francois Perrier
Lyrics Licensed & Provided by LyricFind
@julessansjim
I see many people asking themselves why does Yelle seem so underrated in France, and I think it's important to have some understanding of the context during which she became known to the public, but also of French culture. Critical spirit is a very strong value in France, it's both a curse and a blessing. Francois Truffaud once said: "Every French person has two jobs: theirs, and cinema critic". When it comes to music, growing up in the 2000, I find that this translated in the necessity to showoff polarizing opinions: to be cool in France, you must have taste, to like or dislike things - I think it's a phenomenon that exists everywhere, but I find it particularly true in France.
Yelle started with a couple of 'funny' songs, that buzzed: the clash song "Je veux te voir", a duo with a French comedian "Parle a ma main". She also payed with a dance phenomenon called 'Tektonik' that was - surprisingly enough - very controversial. The media would talk about this new trend in young clubbers like if they were visiting a zoo. Unfortunately, it seems that for a lot of people, the joke-songs, and the appeal to what were deemed 'dumb teenagers' made the brand Yelle synonym of bad taste. A capital sin in France: you must have good taste, read the classics, watch the good movies and listen to the right music...
Also I would bet that a good ol' French mysogyny doesn't like that she can be more than one thing (funny AND talented AND pop AND meaningful).
I find it tragic since I think a lot more people would enjoy her if they would put aside the prejudice they developped against her. I'm personnaly very fond of her. For the non-French speakers, she is actually a brilliant text writer: French is quite the fragile language to use, but she has this unique quality to be able to write very direct, clear, texts filled with meaning and musicality. It's like she's bending the language to make it do something it's not supposed to. As a visual artist myself, I also find the visual and clips so good and clever (Comme un enfant, Ici et Maintenant, Completement Fou...), and a good parallel with the lyrics: simple but clever ideas that are very sharpened and effective. And the music is catchy, varied and has evolved quite a lot through the years without losing its identity. It's a very fresh mix of intelligence, dedication and awesomeness. It's cool that even though France can be so wrongfully snob, she was still able to develop a strong following there and abroad. But it's infuriating that with all that she's done, and all that she is, for so many people she's still 'that chick that did songs for silly teenagers'. Pricks.
Go on Yelle! On t'aime. Et merci.
@homologaye1242
Exactement ! Je n'avais pu écouter hier que l'extrait via Twitter mais en écoutant via le clip, je me suis fait la même réflexion.
Julie (car Yelle c'est le groupe) est vraiment quelqu'un de sympathique et de cash, ayant pu la rencontrer deux fois en after, de plus j'ai toujours apprécié ce côté pop "technicolor" du groupe (en matière d'outfits, de cover design, etc). Il y a dans leurs albums certaines paroles très percutantes mais tendres à la fois qui m'ont pas mal marqué.
Néanmoins le paysage musical français est sclérosé depuis longtemps et surtout politisé, avec la mise en avant dans les télécrochets (Eurovision compris) des starlettes (hommes inclus) à voix mais qui ont le charisme d'une moule et aucun univers, ce qui fait que l'on oublie aussi vite. Yelle, ça fait 15 ans, et je ne les ai pas oubliés. Ils font partie de mon adolescence, de mon histoire personnelle.
De plus, depuis nombre d'années il y a une forte promotion (idéologique et politique) des musiques urbaines autotunées pour plaire à une certaine catégorie de la population, ce qui fait que les "musiques" plus françaises et plus innocentes comme celles de Yelle passent beaucoup moins voire quasiment plus. A contrario, les pays étrangers sont beaucoup plus ouverts à ce type d'univers. Notre pays n'aurait pas pris les directions politiques et sociétales qu'il a pris depuis quinze ans, la chanson française se porterait beaucoup mieux. Moins de "niktamer" et plus de "Tu es loin et de plus en plus, je compte ce qui nous sépare en cumulus"...
A titre personnel j'ai un peu décroché depuis "Complètement Fou", qui comptait pas mal de chansons tristes (belles, certes) à mon goût, et les singles d'après ne m'ont pas convaincu. Néanmoins je suis toujours l'actualité car qui sait, il se pourrait qu'un de ces quatres quelque chose me fasse vibrer grave de ouf :-)
Dans tous les cas, je suis ravi pour eux qu'ils puissent continuer à vivre de leur passion, c'est tout le mal (passion = souffrir) que je leur souhaite <3
@trash
Nous aussi on t’aime encore. L’époque FluoKids est fini mais pas toi : tu as toujours continué à changer, en bien. En réalité, tu n’es plus du tout attaché à cette époque dans ma tête comme dans beaucoup d’autres. Tu es Yelle. Et ça se suffit.
@cryptoanonymous1394
Je sais pas ce que Trash fait là mais c'est beau :)
@MsrAnders0n
Agréablement surpris de voir Trash ici ! Sinon commentaire très juste.
@sasudosword4426
trash qu'est ce que tu fais là XD je ne savais pas que tu écoutais yelle
@TraKerSxT
tient les même goûts mon petit trash on se retrouve ici ^^
@Manuurde
On t'aime aussi trash ! ;)
@Aziatomik
J'écoute cette musique en boucle tous les jours.
J'aime tellement l'ambiance, l'instru, les paroles.
C'est à la fois perturbant, envoutant, séduisant & dramatique.
Bravo & Merci !
@benjaminhrynyk3128
Idem 😍
@carloscunha1500
Je sais pas quoi rajouté a ce que tu as poster. Tu as tellement bien resumé les choses.
@julessansjim
I see many people asking themselves why does Yelle seem so underrated in France, and I think it's important to have some understanding of the context during which she became known to the public, but also of French culture. Critical spirit is a very strong value in France, it's both a curse and a blessing. Francois Truffaud once said: "Every French person has two jobs: theirs, and cinema critic". When it comes to music, growing up in the 2000, I find that this translated in the necessity to showoff polarizing opinions: to be cool in France, you must have taste, to like or dislike things - I think it's a phenomenon that exists everywhere, but I find it particularly true in France.
Yelle started with a couple of 'funny' songs, that buzzed: the clash song "Je veux te voir", a duo with a French comedian "Parle a ma main". She also payed with a dance phenomenon called 'Tektonik' that was - surprisingly enough - very controversial. The media would talk about this new trend in young clubbers like if they were visiting a zoo. Unfortunately, it seems that for a lot of people, the joke-songs, and the appeal to what were deemed 'dumb teenagers' made the brand Yelle synonym of bad taste. A capital sin in France: you must have good taste, read the classics, watch the good movies and listen to the right music...
Also I would bet that a good ol' French mysogyny doesn't like that she can be more than one thing (funny AND talented AND pop AND meaningful).
I find it tragic since I think a lot more people would enjoy her if they would put aside the prejudice they developped against her. I'm personnaly very fond of her. For the non-French speakers, she is actually a brilliant text writer: French is quite the fragile language to use, but she has this unique quality to be able to write very direct, clear, texts filled with meaning and musicality. It's like she's bending the language to make it do something it's not supposed to. As a visual artist myself, I also find the visual and clips so good and clever (Comme un enfant, Ici et Maintenant, Completement Fou...), and a good parallel with the lyrics: simple but clever ideas that are very sharpened and effective. And the music is catchy, varied and has evolved quite a lot through the years without losing its identity. It's a very fresh mix of intelligence, dedication and awesomeness. It's cool that even though France can be so wrongfully snob, she was still able to develop a strong following there and abroad. But it's infuriating that with all that she's done, and all that she is, for so many people she's still 'that chick that did songs for silly teenagers'. Pricks.
Go on Yelle! On t'aime. Et merci.