[Cinepoly, June 1996] Faye was not satisfy with just putting out albums that the company demanded on her, she wanted to do an album that she felt good with and the result is "Impatiences." It has to be Faye's most ambitious and artistic work up-to-date. It's such an alternative album, it was a very risky move for Faye. But Faye was at the point of her career where she can afford it. Faye wrote most of the songs, with the exception of two songs that was written by the Cocteau Twins. Critics love this album and seem to be ready to proclaim Faye as God sent... This album is my personal favourite, it's just so beautiful. Faye's singing is at it's best. Many of the songs have litte lyrics and two doesn't have any lyrics at all. It is rather difficult to say that an album so alternative can be said as beautiful, but it is true. The singing is emotional, powerful, and rather very light. If you don't know Faye, you learn why many has fallen in love with her, her music and voice. The album deserves nothing less than an 10-perfect! It's amazing that Faye was able to convince the company to let her do such an album and actually release it; [if you realize the nature of the HK music industry], it is equally amazing that even though people didn't like it, Faye is still on top of the Asian Music world. It is great to be able to heard an album so innovative as this one - Impatiences.

Track & Title
1 Sporadic
2 Impatience (ļ)
3 Imagining
4 Fracture
5 Uneasy
6 Where
7 Decadence (Z)
8 Repressing Happiness
9 Doomsday ()
10Wild Three Hills

Translated Lyrics
All track description from Forget You Like Forget Me

Track 1 'sporadic' is a two -part song seperated by the title word
'sporadic.' Faye starts the song abruptly and crystal-clearly, putting you
in her reflection on the night's view "beneath beauty's pity," and the
second part is a certain lover's reflection on the day's view. The
quiet-jumpy difference of the 2 parts is also accentuated by the last and
most powerful line of the song 'to save hopes for dissapointment.' Such is
Faye's distinct lyrics-writing. It is very obvious from the start that
Faye is defying structured songs here. Those who are not used to the free
expression of song-writing, and has been conformed to the traditional
canto-pop style of song-writing will hate this album from the start. I,
for one,am liking this to death.


Music and Lyrics: Faye Wong

night wind lightly cool
tree sways moon shakes
little clouds flying
I am thinking
water flowing
flower fragrance
a slice of night's view put on heart
admidst happiness's melancholy
admidst darkness's light
how to measure
how to weigh
wild field
moutain range
beneath beauty's pity
you see that moutain's view lake's light
you see that blue sky white willow
cannot see a shine of infinite
you see again the sea sky green waves
you see again twilight beam
cannot help but hurry
to save hope for dissapointment


 Track 2 'impatience' starts out softly with Faye declaring september as
the month of impatience. She then aggressively yodels 'la chart bo' (and
we could hear an alarm going off, dooo dooo dooo, all the way. It's the
obvious sound for impatience, and I think 'la chart bo' is just the kind
of sound someone will make when s/he is impatient, say, like waiting to
get into the bathroom and can't stop babbling until s/he get to go.) and
then slow down for some breathy melodic sounds, then it's all 'la chart
bo' again and then Faye does her signature nomadic lyrics-yodeling, much
much more liberated than one could find in 'pledge.' Faye finally
alternates between 'la chart bo's' and soothing whispers.

Impatience (ļ)

Music and Lyrics: Faye Wong

september sky high people imaptient
in september
plain and boring
everything's fine
only lacking vexation


Track 3 'imagine' requires a lot of our imagination. It's the first song
of Faye with indecipherable lyrics. It certainly does not mean there
isn't lyrics to the song. Yet, only Faye will know what she is singing,
but listeners should be able to feel what she is singing here, and
appreciate the beauty of the song, for song is not so much about the
lyrics, but perhaps the sound, and the melody, and the instruments, the
resonance of all these things making an impression in your psyche.
(Cocteau twins fans will have no problem at this) Faye utilizes a wide
range of sounds here, husky, ethereal, saprano, nomad-like, amongst other
'weird' tones. Do I hear cantonese somewhere in the song? 'Ngor bei gor
nei.....sarm sarm....' There would be no way to find out i f Faye is
really talking about giving a shirt to someone or not, but that does not
stop us from imagining.


zekima eh au mes sing mau
ah mau ze um
esegul beidau bei no no
zegun bedau beedau be uh dau dau
zegun beidau bei un au

au me yau me yeh
ah ah ah ah un
au me yau me yeh
ah ah ah ah un au un

zegibei dau bei no no
bee bee dau bee dau dau au au au

*siarm me eh bee bee dau bee um bei dau
zigum bei dau bee um (ah um)*
bei dau eh um bei dau eh

yo bei jor nei  ah wah yee
(da........da.......eee....da da da)
yo bei gor mei  sarm sarmee um
(da........da.......eee....da da da)
repeat *

au mee yau me yeh
(au mee yau me yeh)
zigabei dauoooo
au mee yau me yeh
zigabei fong oh


Track 4'fracture' is one of those ascension-of-soul songs of the cocteau
twins. To transform sorrows into such beauty makes it much more sorrowful
and beautiful. That is the power of twins' soundscapes. Someone
ignorantly points out the indistinguishabl e parts of the song. The fact
is that the song is an idea. This time it's about a fracture in a
relationship, both physical and emotional. This is when no one can ever
distinguish parts anymore, like many things in the secular world, when we
try to rati onalize emotions with reasoning. There is none. It's not
capable. It's too big. Lin Xi writes exquisite lyrics for the song.
Probably the most visceral ever written by him. "reminiscence's cells
continuously fracturing....." The ascension is felt during "a pair of
eyes seeing a countenace of your kindness...." Before that, there were
touch ( "embrace's tragedy") and breath ("let me breathe") and blood ("one
person flowing two persons' blood). Now no longer blind, we see, and this
is more poignant than ever, t o have us actually witness the separation,
the damage the love has done to two, like, a "wingless butterfly," only,
perhaps, to have fallen into the fissure.


Music: Cocteau Twins		Lyrics: Lin Xi

fracture fracture
smile's innocence harmlessness on one side
seeing through everything on the other
fracture fracture
love's exhaustion fatigue on one side
nothing's abandoned on the other
it's me  has embraced you
a drip a drop
keeping in hand
it's you  have embraced me
without a fissure
to let me breathe
fracture fracture
resolutely confronting everything on one side
planting seeds on the other
fracture fracture
to guard a one person's world
to bleed two person's blood
it's that  embrace's tragedy
one half of heat
one half of coldness
it's that  embrace's tragedy
one half of sky
one half of earth
(reminiscence's cells continuously fracturing... fracture fracture)
it's that embrace's tragedy
a bit of me  a bit of you
(reminiscence's cells continuously fracturing... fracture fracture)
it's that  embrace's tragedy
a bit of man  a bit of woman
it's that  embrace's tragedy
a side of blue
a side of green
it's that  embrace's tragedy
pretend nothingness
summoning sky stealing earth
(reminiscence's cells continuously fracturing... fracture fracture)
it's that  embrace's tragedy
scaring sky shaking earth
plain and ordinary
(reminiscence's cells continuously fracturing... fracture fracture)
a pair of eyes to see a countenance of kindness
to open a pair of eyes yet seeing a countenance of arrogance
psyche following you to another world
body yet seems like a wingless butterfly
seeing you i'll begin to see emptiness
when not seeing you
to confront myself yet am a bit frightened
fracture fracture
sometimes resolutely confronting everything
sometimes needing to plant seeds
fracture fracture
to guard a one person's world
to bleed two person's blood
fracture fracture
smile's innocence harmlessness on one side
seeing through everything on the other
fracture fracture
love's exhaustion fatigue on the other


 Track 5 is a pulp-fiction like instrumental by dou wei and cheung yah tung
(who wrote 'float' and 'I want' and played in previous albums of Faye).
The songs following this make a twist, from the mostly jovial, etheral, to
darker (and perhaps more beautiful at the same time) stuff. Notice the
titles 'where,' 'decadence.' 'brooming happiness,' 'doomsday,' and the
title of this instrumental 'uneasy' is where everything start to shake disguise.



Track 6 'where' is an urgent seek of somethingness. The upbeat-ness of
the music reminds me of 'backside shadow' and 'pure love' but the vocals
is reminiscent of 'sleepwalking' plus a plethora of new vocal techniques
used by Faye. Indecipherable lyrics may o nce again be a turn-off by
some, but I consider his track, along with track 3, and 'vacation' as the
best songs ever written by Faye. I do hear 'where...where' sung by Faye,
in the song, and I am sure Faye knows what she is singing. The repetition
within th e three turns in the song-structure is refreshing, but perhaps
not noticeable because now we have to rely on the sounds. That pushes us
to listen more carefully and be more entranced when we get to the
monk-like chant in the middle of the song, and the s aprano and
sustain-notes at the end of the song. Faye is not a genius, she is just
an angel.



Track 7 'decadence' is a bonus because of Faye's exeptionally extended
lyrics. Perhaps we can see the irony that Faye is obviously playing here.
In the begining there's a very dark feel to the melody and vocals, and
Faye is talking about bright side of th ings ("this world seems very
happy, cannot see regrets...."), when her voice brightens up, she is
talking about the hellish, decadent behaviors ("to painfully enjoy,
hesitantly embrace decadence"). Is Faye a devil here? She sings with
enthusiasm and compass ion "oh come oh come, I accompnay you....continue
continue...." to lead someone into the vortex of decadence, and of misery,
perhaps. The confusion is evident in my favorite line of the song - "the
intertwining of intoxication and anesthesia." And the road to decadence
is like the mood of the song, a confusion in the bright and the dark,
eternally unconscious.

Decadence (Z)

Music and Lyrics: Faye Wong

this world seems very happy
cannot see regrets
always smiling reticence
you do not fear do not worry
you're naturally (to be) undaunted
to shed disguises
pick away beliefs
you are not willing to speak much
you want to be less restrained
nothing to be afraid of
nothing to worry
painfully enjoy
hesistantly deteriorate
cannot hinder temptation
you then refuse lonliness
you are not wrong
because no one has been right
tranquil heart
so you embrace decadence
oh come  oh come
I accompany you
oh come  oh come  oh come
to continue  to continue
I don't have much to say
cannot think clearly of outcome
and am not prepared for self-reprobation
I do not fear do not hurry
naturally (to be) undaunted
hopelessly to ascend against downstream
knowingly to fall into trapped net
do not have any other thinking
only want to be less restrained
to pretend not to discover
behind is goodness' falsity
draining spirit
coercively struggle
nothing is missed
actually gaining nothing
cannot say it's dissapointment
intertwining of intoxication and anesthesia
starting from here
unconsciously to embrace decadence
oh come oh come
I accampany you
oh come oh come  oh come
to continue  to continue


Track 8 'brooming happiness' is a precious-sounding creation of the
heavenly cocteau twins again. The song is written for Faye and was
actually part of the setlist of the 'milk and kisses' tour. It's called
'green' or 'touch upon touch' by the twins. While liz fraser of the
cocteau twins opt for her very famous and mesmerizing skat-singing in the
song, Faye opts for the scratchy, jazzy feel. (This time she is much
better than in 'quiet night clarinet' of her early career) She enunciates
a word at a time, and s tresses certain tones to perfection. It's subtle
and trembly. Wyman, with some assistance of two friends, Andrew and
Cherry (not given credit), expresses the lazy-calmness ('lazy calm' is a
cocteau twins' song title) , the overcast clarity, and the willful b
lindness of the confrontation of reality. The ungrammatical title
'brooming happiness' is appropriate for a twins song. The "playing
cards," the "clouds" and the "pan of water" adds to the attractivness of
the song. We hear Faye mumbles far away in the backg round, yearning, or
perhaps, lamenting the destruction of happiness, but only in the
background. In the foreground, Faye remains placid, tranquil.

Repressing Happiness

Music: Cocteau Twins		Lyrics: Lin Xi

stacking stacking cards
you a move of hand to have me falling
drinking drinking cola
you a turn of head
to have me crying
disguising disguising happiness
you a look to have me unable to disguise
forgetting forgetting solitariness
your a question to have me thinking
* oh always not wasting a blow of ashes
you have me from that dream world
running away
(oh) always so effortlessly
you tell me from where
the depths of white clouds
@ cautious patience you without paying attention
to have me hurdling
very easily amused
your one sentence
to have me turning bad
whole life waiting
your within a second to have me awaken
freely induce in bordeom
your a pan of cold water
thrown towards me@
repeat *@*


Track 9 'doomsday' is a story of a man who "cries beautifully" for his
inability to acheive his goal. Faye's intermmiten vocals and
swirly-sounds create an atmopsheric doomsday. The tingles in the
beginning is perhaps an indication of the exigent doomsday, and they are
then replaced by Faye's impression. The immediate ascension to doomsday (
i've always envision death as a resident of the apex of a mountain, and we
climb to seek peace sometimes) and the ghoustly (angelic?) vocals of Faye
leaves us shuddered (blessed?). The song reminds me of Camus' 'The
Stranger,' particularly the line 'the sun is a bit too scintillating."
Faye's anti-materializm and nihilism is again evident, as in 'exit.'
Despite given only two months' time, this album is an exquisite creation .

Doomsday ()

Music and Lyrics: Faye Wong

aspiration loitering crossroads
do not know which side to go
road of confidence continuously looking down
countitng stones under feet
the sun is a bit too scintillating
the air is not too fresh he thinks of this
hesistant and not advancing
beautifully flowing tears
saying goodbye to himself
deceitfully showing a smiley face
vortexing in the crowd
rationalization not convincing self
decided to give up
desire to buy everything
yet cannot satisfy emptiness
ordains and doctrines have no meanings
three hearts two wishes is captivating
doomsday coming
a bit curious  curious
no one will  care


Track 10 'wild three hills' is an interplay of drums/guitar/vocals of dou
wei/cheung yah tung/Faye. It's a foreceful, magnificent way to end the
album. You can just imagine Faye walking back into the wild hills,