Minimalism’s detractors usually attack its sonic relentlessness. As a fan of the method, that very relentlessness for me is one of minimalism’s greatest virtues. But Phillip Schroeder’s brand of minimalism further ups the ante on minimalism’s signature relentlessness. He multilayers piano tracks (sometimes as many as five), each repeating sonic modules which are sometimes also further repeat through added digital delays. In the case of Where Joy May Dwell, composed last year, it is two pianos plus two pianos with digital delays. The result is, well, relentless. If you hate minimalism, you’ll want to jump out the window. But, if like me, you love it, you’ll keep hitting repeat on your CD player.