On Interior, Swiss composer Samuel Reinhard excavates intricate resonances at the periphery of our attention.

Across four movements, Reinhard follows a process whereby he layers and loops fragments of piano improvisations.

Yet Interior complicates its own systematicity by using samples that are not only recognizable as piano notes, but as live recordings of a piano being played.

Reinhard composes from traces both analog and digital: we can hear static hiss and clicks, but also the soft trace of a finger pressing a key or the shuffle of a body shifting position.

Interior asks us to think about where we are, and how close we are willing to look, feel, and listen.

Over the course of the four movements sounds return, familiar but transformed. What sounds like repetition is something more like accumulation, a thickening of space.

Whether regarded at intimate range or from a distance, these compositions reveal more the longer we linger in the presence of each.