The world of Mr. Thal-Nir looks filtered by a flickering monitor which is also missing a good number of pixels. Yet these imperfections are the very elements attributing to his music the granular textures and biotically attuned qualities that make it sound like the flow of bodily energy. This composition presents various degrees of newness, though. Contrarily to the usual preferences, frequently revolving around the constant development of a single concept, Asher focused on different scenes seamed one after another – featuring recurring close-ups and settings but at the same time highlighting a handful of concrete principles – by putting them under a mildly magnifying lens. For example, voices and birds are instantly visible, not engulfed by the customary shortwave clouds (the latter are still there, mind you: that’s Asher’s main colour, and it will always be). There are also basic melodic recurrences: keyboard figures made of two, maximum three notes at a time which seem to represent a guide light of sorts amidst the fog, granting a false sense of security as the actual connections remain just intuitions, never turning into a delineated conceptual network. The irredeemable loss of hope affecting most people’s humdrum existences finds a worthy soundtrack, although it’s strange to say that when evident signs of life are disseminated throughout the piece. A beautiful work, like everything this artist generates. Above all, a testimony of Asher’s ongoing evolution as a composer.