The music comprised by Moraine may appear as pretty undemanding at first, but subsequent listens reveal details that tag the record as a convincing work as opposed to a mere compilation of atmospheric stratifications. Layering is indeed the chosen technique by Govrin, who exploits both real string instruments (cello and violin) and computerized processes to redefine the primary sounds, thus giving origin to a series of spectral amassments whose morphology is well defined yet ever-changing. The ears perceive faint alterations in the clouds of upper partials, while the guts accept the power of certain vibrations with ease, though moved by a harmonic constitution that doesn’t want to know to remain in the same place for more than a few seconds. Curiously enough, the extremely variable weather of the day in which I’m writing seems perfect as a corollary to the “static volubility” of these tracks, the consequences deepened by a blend of pragmatism – in that the sonic features tend to presence, to a perceivable physical movement, the lone exemption being perhaps the subliminal “Medial” – and the disengagement from concreteness deriving from the austere spatiality of these streams. Some of this stuff is in truth engrossing, my personal preference going to the emotional isolation of “Terminal”. In general, an admirable outing by this Israeli artist.