Being from Austria means Moto's brand of soft, feminine techno isn't strongly defined by the various imperatives of the neighboring German or French electronic scenes. In that sense, she seems to operate on her own terms and drawing her own lineage, blending delicately upbeat tracks with more abstract, beat-less ambiences. That said, you can hear schaffel influences on the sparse but more dance floor-friendly cuts: "Take a Second" has a Jurgen Paape feel, as so does "Alma," but with added Plaid-like prismatic bleeps toward the end. These might sound a bit academic to the trained ears, but they are produced with intricate poise.
When her sound isn't being determined by dance floor diktats, it sometimes falls into strict IDM territories. "Goodbye Twilight," for instance, is an ambient piece that explores the fragile tension between field recordings and a tenuous, even diaphanous melody while "Joy of My Heart," with its echoing piano, wouldn't sound out of place next to Aphex Twin's more serene moments on Drukqs. Album closer "The Opposite Is Also Wrong," on the other hand, is a two-minute blurb that sounds like a depressed version of Plone with a malfunctioning MIDI controller: It's cute, but probably too twee to make a lasting impression.
Clara Moto produces the kind of wide-ranging stuff once called "female electronic" that reminds of Warp IDM starlettes such as Leila or Mira Calix and, on a few rare occasions, the fist-pumping stamina of Berlinettes Ellen Allien or Anja Schneider. But covering such a large ground is a daunting task, which also means Polyamour, more often than not, awkwardly falls right in the middle of a nowhere-like no (wo)man's land.