And Kathleen recommends this: any friend of Grimes is a friend of ours!
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[5.43]
Iain Mew: youarenoamiareyou
[4]
Anthony Easton: That space where efforts to sound ethereal sound laboured, but not laboured enough for the pretension to suggest a curious overreaching.
[4]
Alfred Soto: Hana’s, ah, immersion in the subject is impressive and frightening. “Like my father and my mother,
[5]
Ramzi Awn: Hana has a good voice. Well read and boring, it complements the plodding chore of a song nicely.
[4]
Hannah Jocelyn: It seems as if all songs with “Underwater” in the title sound like they are, in fact, underwater. I don’t even need to name any specifics — just type the word into Spotify and the first few songs all have bubbly electronics and endless amounts of reverb. This is an example, but it fits that example really well. Hana singlehandedly guides the slow-burner until subtle guitar strokes open up the song enough to make room for hints of desperation amidst the… underwateriness. Even if Hana does sound similar to acts like London Grammar, Florence, as well as most songs with that title (but strangely enough not Grimes), there is more than enough detail and nuance here to justify this one’s existence. “Underwater” stands out, no matter its name-mates or soundalikes.
[7]
Brad Shoup: On the right soundtrack, the immediacy of the sentiment could pop off. Here, though, I’m not sure if the connection holds once the pitch veers. The stuttering slow lasers that strafe the refrain are always welcome; I was rooting for them to take out the phrase “for forever.”
[5]
Madeleine Lee: The lyrics are beautiful and encouraging, but the wraparound production, with its distant, hollow percussion, makes them a little haunting, too. Hana could just as easily be a siren trying to take you into the sea.
[9]