“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)

“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 (OTONOMA Review, 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)

“This is the power of Hirano on OTONOMA, a beautiful, sensuous encapsulation of sound harnessed in various complex ways that never becomes dull or tired, but instead, expansive and enveloping.”

— Spectrum Culture (OTONOMA Review, 2026)

“Whether she’s serving up subdued batches of tinkling piano keys or piloting bloopy treks into synth-fueled psychedelia, Hirano retains an undeniable sense of clarity, both in terms of her creative vision and the aural fidelity of the sounds on offer.”

— First Floor / Shawn Raynaldo (OTONOMA Review, 2026)

“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 (Soniscope, #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)

“Everything on this album is chosen with intention and artistic judgment, everything is fitted together with elegance and musical wisdom. ..… it’s clear that this is electronic music from an artist who’s been a leading voice in the field for over a decade. What might be subtler is that this is also the voice of a musician who loves the classic, basic elements of music, and the quality of her taste is what drives the effect that you, the listener, feel in the heart and mind.

.. it’s a look at the engine that powers all the shapes, colors, sounds, tastes, effects. Quite an edifice, quite a meal.”

— “Album of the Day” at Bandcamp Daily (OTONOMA Review, 2026)

2025: The Tonearm

2025: Sound on Sound

2024: The Moderns

2024: Fluister

2023: Freq Magazine | 日本語

2022: Modulisme

2021: Brevi Storie: The EMS Series by Johann Merrich

2021: self-titled mag

2021: Headphone Commute

2021: 15 Questions