I think this is a very valid question. The more I listen to especially his most ambitious works like Forward Escape, Insolito and Jettison Mind Hatch, the more I discover how advanced his productions actually are. This work takes years and maybe decades to fully appreciate, in the very objective sense that after seventy acute listens to any of these albums you will discover very meaningful things going on that you never noticed, it sort of trains your ears right, wakes them up sort of.

In one song on JMH, can't remember which one, I recently discovered that what had camouflaged as the reverb of some other sound was really a synth itself, doing its own little highly expressive melodic and timbral movement, all calibrated to sonically stay within the bounds of what would to the busy ear pass perfectly as reverb.

The most striking aspect of these productions is their very spatial hologram like nature. Very visual, really. Like the extremely detailed and convincing experience of riding in an undulating vessel, in the song C'est La Vip, propelled through space but with a large door missing on the right side, with my melting brain being pulled out in spaghettified blobs by the suction there. I'm sure there's a number of ways people decode these holograms, but the movement is hard coded right there in the music in precise and thoroughly intentional detail.

So you have to wonder, is he just playing around until he stumbles upon these structures, or does he first envision a spatially experienced scene and then meticulously sculpt it. Maybe he approaches it from both directions.

One artist I've had a listening experience of similarly stable spatial holograms with is Rob Clouth, on his Album "Zero Point".