There's a striking interiority to Stadium, the ninth solo album from New York City-based percussionist and sound artist Eli Keszler. It was inspired by a move to Manhattan and it captures something of the anxiety and claustrophobia that living in a big city can bring. Keszler’s tracks, created using a drum kit and an array of vintage keyboards, are sparse, muted, fragmentary and impressionistic. They’re propelled by brittle percussion and jumbled with glitches, glimmers and dislocated field recordings. I made out the sound of slamming doors, dripping water and distant street noise, but many are unidentifiable. Some of the sounds are so low in the mix I had to strain to hear them. Keszler’s music makes you listen hard, which I like. It also forces you in on yourself. You spend a lot of time hearing yourself think. I frequently felt lost and alone but, uncomfortable as it is, I suspect that’s the point.