After the very American flamboyance of Dans ma chair (1997), Patricia Kaas returns with an album (her fifth in 12 years) of singular beauty, undoubtedly more faithful to her sensitivity and discreet charm than the previous one. Dressed in a sepia cover curiously reminiscent of that of Scènes de vie (1990), entirely produced, written, and arranged by Pascal Obispo, Le mot de passe draws all its strength from the coherence emanating from the choice of tracks, evoking universal themes such as fleeting time, the strangeness of femininity, disappointed or inaccessible dreams, and the difficulty of loving. Patricia Kaas has personalized them with her weary, almost disillusioned voice, bringing, as if transparently, all her emotion and maturity as a young woman in her thirties. While the faithful Goldman offered her two custom-made tracks ("Une fille de l'Est" and "Les Chansons commencent", which seem to echo "D'Allemagne" and "Entrer dans la lumière"), the other lyrics are signed by Zazie, Golemanas, and Florence: as many authors who know their craft when it comes to subtlety.
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