With the release of her new album 'Home', Hania Rani pushes at the boundaries of her practice, builds some new foundations and ultimately constructs a comfortable space for renewed self-expression. Neil Housego caught up with Rani to discuss the making of the album and her journey into developing a more experimental musical vocabulary.

The expansive almost cinematic vision of ‘Home’ is very much a continuation of the work Rani started on ‘Esja’ but also finds her challenging herself to collaborate in different ways and expand her musical palette. With her piano, voice and subtle electronics, Rani constructs a compelling narrative: the story of places that become our home sometimes by chance, sometimes by choice. Maybe it is the story of leaving a place that is familiar and the journey that follows it. These themes seem to resonate even more at this current time. 

How is the current situation affecting you, and what are you missing the most?

'The most worrying thing and situation that is really confusing now, in my opinion, is the fact that the future became unpredictable. It always was, but somehow you could at least make plans. Now it's just difficult to think about anything further than a week ahead. 

The Pandemic made me return to my real work, though. I was back to composing, which was difficult for me last year when I was touring almost for a year without a break. I had to find again my own day to day schedule and find power for self-motivation. It's sometimes easier to focus when you know that you have a very condensed amount of time, so I must confess that working wasn't the easiest thing to do for me during the last three months. I managed to finish some projects, though. I finished the score for a full-length documentary movie and composed music for my new collaborative album with cellist Dobrawa Czocher. I also accomplished a couple of remixes and videos. 

Although I wasn't into online concerts in the beginning, it seems like I played quite a lot among others for Arte Television and Blogotheque. I never expected that this kind of event would make me so happy and give me emotions comparable to a real concert. I miss being back on stage, though. I think we all miss it - artists and audience. But most of everything I just miss people and feeling carefree'. 

You describe 'Home' as the second part of the same book as your debut album 'Esja'. Can you tell me a bit about the writing and composition process for this album and your sources of inspiration?

'The truth is that I thought 'Home' would be the first album released, before 'Esja'. I started to work on my solo project in the beginning of 2016. I was extremely inspired by Nils Frahm's album 'Spaces' and thought this kind of 'patchwork' release, including varied composition and arrangement, is something that I could achieve one day as well. I composed and recorded as much as I could - piano solo songs but also more complicated pieces for voice, strings and even a small choir. 

It was a coincidence that in 2017 I met a producer from Iceland - Bergur Porisso, a friend of a friend, who offered me help in finishing my album. When I came to Reykjavik we decided to record more piano solo songs, because in Bergur's studio there was a nice piano. I put together all the piano pieces that I recorded in Iceland and before in Warsaw, and it turned out that they made a nice, piano album. Very modest in form but consistent and sufficient. Although other compositions were also nearly ready, we decided with my label - Gondwana Records, to release a solo album first. I am very happy about that decision now because I had way more time to polish my second album, adding to it some new songs and arrangements.

I learnt so much since releasing 'Esja' that 'Home' wouldn't sound like it sounds without that experience. These two albums are like siblings for me - some of the songs were composed really at a similar moment - like ‘Tennen’ and ‘Esja’ in 2016'.

Is collaboration an essential part of your practice? 

'It is very important, but not easy. I am the only child, and I spent most of my life playing the solo piano - during my school and university years. Pianists are lonely wanderers, because of the piano's possibilities and self-sufficiency. But on the other hand, I was curious about collaborative ways of working and the results of thinking of more than just one person. So I sought projects where I could face this feeling. And although I argue a lot sometimes, I see that when you need to create something with another person, it will always be something unexpected and something new and different from what you would usually achieve. This is fascinating and appealing.

I also realized that I had to learn way more because the second person acted as a motivator. That's why although I am now focused on my solo career, I try to invite some other musicians to play with me. On 'Home' you can hear double bass, drums, string quintet but also the whole process of mixing, which is also a picture of how someone else sees your music. 

I can do a lot by myself, but I am curious to see what will happen if I allow more people to my world'. 

Where was 'Home' recorded and how important are your surroundings when you're writing and making music?

‘I recorded it in September and October 2019. We didn't have too much time as I was in the middle of the tour! It was a bit crazy, but we managed.

I recorded all the piano tracks at my home in Warsaw, where I usually record and have my favourite instrument there. The rest of the instruments and vocals and some parts with the grand piano we recorded in a beautiful studio in the middle of nowhere - Monochrom Studio in the South - West of Poland. It is run by my friends, who live there with three kids, a dog and a cat. The building is located on a hill overlooking the valley, surrounded by wild nature. I feel very natural and free there.

Mixes were made in Amsterdam by Gijs van Klooster, who worked with me on 'Esja' too. Zino Mikorey mastered the album in Berlin'.

How involved were you in the mixing sessions with Gijs? How does that work between you? 

'Home' was the most complex album in my career that I entirely produced. Despite the fact that I have some experience, I am still learning and I learnt so much when mixing the second album. Gijs is a very experienced producer and musician, he is a bit older than me and happy to share his knowledge to other people and artists. He tries to get the best from the artist's vision for the album, although he is also keen to share his thoughts and solutions. This happened in a couple of songs, where Gijs added a bit of sound designing from his side and I am very grateful for it - for example in 'Summer' and 'Tennen'. From the technical side, I usually prepare the full session to be mixed, generally with already edited tracks, with correct balance and proportions. I leave piano tracks because they are usually recorded on a couple of pairs of mics (we had 5 pairs for grand piano and 4 for upright). This is a bit too fragile "fabric" for me to work - I am not so professional. But I always deliver a draft of the atmosphere of the song, and I strive for so long until I reach the destination that interests me. I know it's not easy to work with me, maybe because I produce and compose my music and have a very strong feeling about the character of every single song. But I am learning slowly also to give some space to other people that I work with - especially those who mix or master my album. I know that as long as I am not as good as they are in this area, I can be wrong in my opinions, or at least not-objective. But I guess art is never objective, right?' 

Did you have the opportunity to give feedback to Zino Mikorey, and get a chance to interact with the process from a creative standpoint? 

'Yes. I dreamed of working with Zino Mikorey for many years now. We met a couple of years ago when I was working on 'Esja' but never had an opportunity to work together before 'Home'. I know that Gijs had also worked with him on the previous album by Joep Beving, so we easily agreed on this choice. 

Zino is an extremely sensitive producer, very attentive to your ideas and feelings. He was happy to hear my, and my label's comments about the first version of mastering and then was open to making some changes in a couple of songs that we felt should sound different. I really had a feeling that Zino is the one who always listens and fully understands the process of making the music together. I really appreciate his taste and his touch on my album and I am sure I will continue this collaboration in the future'.

 You've expanded you're sound on the album, with beautiful use of your vocals and subtle electronics. Has using your voice always been part of your compositional process, and was it challenging to embrace new modes of expression for the album? 

'I started to explore and learn to produce a couple of years ago. I really wanted to try some new things, so the only way to do it was to do it by myself. I was always inspired a lot by James Blake's way of treating and processing his voice and use of electronics. So I started trying. I wasn't so experienced with MIDI or synths, so I decided to make sounds similar to electronic ones with things that I know - piano and voice. 

I worked a lot with layers and processing and previously recorded samples and tracks. I realized that this way of building my compositions brought me to my own, individual musical language. I had a feeling this sound is very personal, very 'mine'. 

The first composition fully created in this manner was 'Leaving' in 2018. The song opened a whole new chapter in my way of composing and producing and although many things changed in the meanwhile this was definitely an important moment in my work. I also think I treat voice as another instrument. Although it carries lyrics and the meaning of words, I want it not to take over the other elements of the composition'. 

‘I know that voice has a power of connecting with the listener like nothing else but also I am fascinated by the power of instrumental music, which can paint most abstract passages and move our imagination to unknown places. That's why I like to keep it balanced - a couple of songs, a couple of piano solo pieces and a couple of 'orchestrated' compositions. This is my 'Home'.

‘Home’ by Hania Rani is Out Now on Gondwana Records.