Ausländer by Miët

Does loneliness lead one to go out and meet the other? Although always alone on stage and in the studio, Miët expresses how much the discovery of an otherness nourishes her creation, to the point of having chosen for this second album, still in English, a title in German: : Ausländer. For the Nantes-based singer, this term means the magic of an unexplained but familiar word.This "foreigner", or more exactly this "other", seems to take on the appearance of a character that we learn to discover throughout the ten tracks of the album.

We find in this new record of Suzy LeVoid what has always been her leitmotiv: an abrasive rock, the fury of which is never gratuitous, a blend of sound loops, hypnotic rhythms and powerful and distorted bass lines.Singing still occupies, more than ever, a central place in her work.Her voice reveals sometimes its sweetness and passions as on the poignant «  The Path  », sometimes its anger and rage on «  I Belong to the Dead  ».Miët demonstrates once again her ability to switch from one style to another, to adapt and to make them her own.This second album is loaded with multiple emotions like this Ausländer whose state is in perpetual movement and the introductory track Ones shows us the true color: "How could you see my face, when I have a million ones". 

Less minimalist than the previous album Stumbling, Climbing, Nesting, Ausländer is very rich, as much in the composition as in the writing. Strongly inspired by the work of Walt Whitman, Miët, like the American poet, subtly uses repetition to give a hypnotic character to her texts. This feeling of hypnosis is largely accentuated by the sequence of sound loops, creating a perception of an infinite cycle and thus giving birth to an almost mystical atmosphere.

Then, there is the bass, long trails of four-string lines that loop until they lose the trace of their original tone. This bass is dominant, sometimes overwhelming, often distorted by the many effects used. Miët manages to push the limits of her favorite instrument. In her second album, Miët also opens up to new sounds with the use of synthesizers on several occasions. The last track of the album, The One that Loves, is a good example. It surprises by its introspective and dreamlike character