Press

 

“at once familiar and odd, with the ineffable quality of a dream”

— Time Magazine (2009)

 

“With its combination of piano, synths, and the occasional recording of rain, it’s the perfect blend of the organic and the electronic for these early autumn days that are slowly turning dreary.”

— The Paris Review (2021)

“Improvisation for Piano in Summer 2018 exquisitely shows Hirano’s range and skill as a lifelong piano player, calling to other parts of her oeuvre in a way both rewarding to longtime fans and intriguing for new listeners.”

— Daily Bandcamp (2018)

 

“Ber­lin-based Japan­ese com­poser wows with neo-clas­sical synth fantas­ias

… On “Illu­min­ance” and “Blue Hori­zon”, Hir­ano devel­ops her own vivid vocab­u­lary from forms, fig­ures and sounds pion­eered by Philip Glass and Suz­anne Ciani. Con­versely, “Rain­walk” and “In Col­ours” evoke the most del­ic­ate piano pieces of Ryui­chi Sakamoto.

Yet even in Otonoma’s quietest moments, Hir­ano’s music bene­fits from a remark­able rich­ness of scope.”

— Uncut Magazine (2026)

“her productions are based around the use of traditional instrumentation – piano, strings, voice – and augmented with often subtle electronic processing and digital samples creating a rich, rolling sound that is at once warm and melodic while tracing unexpected musical trajectories.”

— Fact Mag (2010)

“Striking a perfect middle ground between hushed concert halls and heady clubs”

— Self-titled mag (2021)

 

“New song 'Void' is endlessly beautiful, with each note seeming suggest an entire universe of its own.”

— Clash Magazine (2021)

 

“Midori Hirano’s compositions are haunting, often discordant, mirroring Lola’s fractured psyche. This connection between music and character is deepened when we realize that it is actually Hirano’s hands we see during tighter piano sequences. At times, the score incorporates chants, reinforcing an almost ritualistic sense of unraveling.”

— Points Of Reviews (Film ‘Satisfaction’ Review) (2025)

“As with previous albums, this is a record to get lost in. When travelling through its hushed and emotive builds, sit down, close your eyes, and make sure you devote ample time to the wonder Hirano has created.”

— The Vinyl Factory (#10 of the 50 best albums of 2021)

“It harks back to her classical roots on the piano, but marries her compositions with electronic abstractions and field recordings. It’s an album filled with warmth, and Hirano maintains the ability to create poignancy through her minimalist experimentations.”

— Crack Magazine (2020)

“..It all comes together in one delicate piece of music that marries ambience and sonic beauty, making this one of their most interesting and moving albums to date.”

— The Berliner (Split Scale Review) (2025)

Interviews