Commissioned to create a “sound environment” for the Art Gallery of New South Wales’s Naala Badu building—a distinctly modern space named after the Gadigal term for “seeing waters”— Brisbane composer Lawrence English delves into the idea of sound that haunts architecture. Unfolding across eight linked parts, Even the Horizon Knows its Bounds certainly lingers as a spirit might, by turns invisible and ominous. To flesh out this flowing ambient work, English tapped many current leading lights in experimental music, including Jim O’Rourke, claire rousay, Dean Hurley, and Chuck Johnson. Working from a pair of long-form sound prompts, those collaborators support English’s gorgeous vision without threatening to steal the show. Swans guitarist Norman Westberg adds windblown whorls to two tracks, while The Necks’ Chris Abrahams contributes trickling piano notes across the album. Despite this all feeling subtle yet immersive by design, there’s also a clear sense of a proper journey—especially when the more discordant elements evaporate during “VI,” allowing gentle piano to lead the way again.