Two seconds of silence, then two notes and »Esja« unfolds: in crystalline beauty, the melodies, always gently struck, rise from the piano, drifting away in a deep night where everything remains still and rigid during this music. The Polish musician Hania Rani recorded the tunes of this album partly in her Warsaw flat – and partly in the studio of her friend Bergur Þórisson in Reykjavik, which explains the working atmosphere that influenced Rani’s solo debut. And yes, this album is reminiscent of the modern compositions from Iceland like those of Ólafur Arnalds, but Hania Rani as an artist is more than just a reference: her gyrating piano playing creates these ten unique and beautiful pieces here, which combine to create an everlasting album. Every note of this album slows down time, which is also due to Rani’s impressive sense of silence. »Esja« does not impose itself and yet is there, does not sink into the background noise of everyday life. Nevertheless, this album belongs to those records that only open up in complete darkness, when all other senses no longer report any stimuli. The title potion then sparkles wildly, »Biesy” slowly falls apart in all its beauty and »Sun« rises as a quivering star in this sound. With »Esja«, Hania Rani has created a work that is so out of time because of its grace. (Which is why it doesn’t matter at all that this album was released three years ago in its first edition). It is not deceleration music, not ambient in the sense that these sounds blend into the surroundings. »Esja« is like a snowstorm that cuts you off from the completely overstimulated world. Then, in between, the unknown blossoms. And the way Hania Rani captured this in ten pieces is a never-ending winter night’s dream.
Esja
