About a month ago I reviewed Max Corbacho’s other release from 2018 titled Nocturnes II; it, like this, is a dreamy soundworld filled with beautiful sonic textures flowing gracefully over one another, eliciting a number of sensations and emotions that flow freely and change from one minute to the next, a dense fog of shimmering sound that opens out in all directions, fantastic multi-faceted chord sprites that color parts of the surrounding space in bold hues and pastels, limited only by the imagination. The listener can fall through open space escaping the limits of time and traverse through something of a sonic wormhole, hearing the fabric of everything passing in numerous dimensions. The effect is beautiful, sometimes cold, other times warm, with layers of gentle sounds morphing out of nothing, full of majestic shimmering nuances and expansive chords that reach out to and beyond the horizon, and decaying into interstellar fog. The listener can easily get lost within it all, and in fact should. Total immersion is the best way to experience this – lights out and hadphones on. Technically, there are five tracks listed on the CD cover, but the sound only fades to black at one point after the 28 minute opener “Quantum Cathedrals”, with the remaining four cuts (accouting for nearly 45 minutes) all joined together in smooth crossfades, the pieces just get a little quieter at the junctions. Now I have to say that I’ve listened to both Horizon Matrix and Nocturnes II at least a dozen times each, probably more, and I find it difficult to say exactly what the difference between the two is; This one is probably more up-front and colorful in the nature of the sonics presented, while the former may be a mite more muted, dark and discrete, but both share a vast and abundant world of sonic beauty, and both are discs that the listener could easily put on endless repeat and absorb for hours on end – and I have done so with both.