Squeeze
Sasami
Keywords
Reviews (5)
Gaffa [online]
d. 29. May 2020
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By
Ivan Rod
d. 29. May 2020
"Den klassisk uddannede, unge pianist - på 29 år - betvinger sit instrument med moden autoritet, åbenlys fingernemhed og sensitiv sans for dramaets yderpunkter ... Dramaerne baseres konstant på Hania Ranis eminente instrumenthåndtering. Hun forvalter både det intime og det ekspressive med imponerende sikkerhed. Hendes tilgang til det at komponere og spille og synge aftvinger således den dybeste respekt. Uanset om hun så fremadrettet måtte vælge at placere sig indenfor den neoklassiske musik eller andre, tilgrænsende genrer, vil jeg hævde, at hun er et af den polske musikscenes pt. bedste bud på et navn af internationalt tilsnit. Hun er et navn, jeg med entusiasme vil følge".
Everything is noise
d. 25. June 2020
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By
Rodney Fuchs
d. 25. June 2020
"There are many modern minimal musicians doing their thing in 2020, but you could definitely name Hania Rani in the same sentence as Nils Frahm, Ludovico Einaudi, or Max Richter. All things considered, she's even able to step away from such comparisions, simply due to the use of her voice ... Another good record from one of the most exciting Polish musicians in recent memory".
The line of best fit
d. 27. May 2020
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Eloise Bulmer
d. 27. May 2020
"The relationship with home that Rani chases through the LP is constantly transforming: at times a breathless fluttering and at others a sorrowful slow dance, a river widening before it reaches the sea ... The centrepiece of the album is "F-Major", a piano piece which tumbles and finds itself again only to topple once more, managing to chronicle the chasing of home without words ... Home is a beautiful album, encompassing all which home is and isn't. The addition of gentle, mediative electronic elements to Rani's palette elevates her storytelling, a highlight being the ominous "Zero Hour" which also includes bass and drums to play with tension. Still, the tracks which shine brightest are the ones where Rani's piano compositions are the focus, the spareness allowing each one to be heavy with the weight of storytelling".
Spellbinding music
d. 16. Nov. 2020
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Guillaume Janssen
d. 16. Nov. 2020
"['Home'] expands significantly on [Rani's] original sound, featuring double bass, drums, a string quintet and the pianist herself on synthesisers, keyboards, electronics and vocals ... The multiple layers, the additional musicians and vocals by the pianist herself on five new songs generate a wealth of sonic and melodic opportunities. By inviting two members from Gdansk-based prog-jazz trio Immortal Onion to tour and record with her (...), Hania Rani injects a fresh energy and signals an alternative path in terms of composition, arrangements and production. In doing so, Hania Rani quotes Nils Frahm's album Spaces, the sound of Portico Quartet or GoGo Penguin as a major source of inspiration".
Higher Plain Music
d. 18. June 2020
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Jeff Burger
d. 18. June 2020
"'Home' showcases how a modern classical composer can cross over into world of luxurious alternative folk by bringing along one new instrument - her voice. It is fascinating because as Agnes Obel burst onto the scene by creating chamber pop that lent heavily on classical music, I feel like Hania Rani is steaming in from the other direction ... The two are completely different yet utterly mesmerising in the way they reach the same feel and emotion ... The title track 'Home' is (...) a classical electronica infused chamber pop anthem. There is so much going on, it takes repeated listens to catch it all. 'I'll Never Find Your Soul' and closer 'Come Back Home' both take from the traditional blues and jazz instrument set but feel more like a Obel/Fiona Apple cross over. The latter is interesting because Rani layers her voice with vocoder versions of herself so as she sings of home, she sounds more and more alien ... The choice to include her voice this time around is inspired and leaves Rani with so many directions to choose from in the future ... Highly recommended".