Alex Paxton

and Deforce’s increasingly agitated playing captures, with genuinely affective power, the passivity of interstellar space and the collapse of fundamental particles. In the final section, ‘Return to Earth in Holography’, warped electronic reverberations serve as the holographic projections referred to above, a reality somehow more real than the cello physically in front of us. Ultimately, while speculative astrophysics is Parra’s chosen terrain, his subject is humanity – both its limits and its possibilities. In Hypermusic Prologue this took the form of a love story across different dimensions of the universe; in Caressant l’Horizon it was the heroic encounter with the unimaginable forces of the event horizon. In . . . limite les rêves au-delà, however, the story is extended into a kind of transcendence, a state of cosmological enlightenment. If you can find a way not to dwell too much on the details or specifics of that journey, you will find much to appreciate here.