My suggestion for listening to get a real sense of how stereo field depth (or field depth in general) to work would be to pick up a copy of the Beach Boys' "Pet Sounds", especially the recent (2001) reissue that contains both the original mono mix by Chuck Britz and Brian Wilson, but which ALSO has a new stereo mix made by Brian and Mark Linett. This is a great opportunity to really deep-dive and study HOW these mixes work, because the stereo version went back to the source reels for the new mix, so in BOTH cases, they're working from the same recorded material.
What's really amazing is how the stereo field behaves...and then contrasting that with the 1966 mono version. In both cases, there are a lot of "depth cues", but this just makes the 1966 mix even more jaw-dropping, because Britz and Wilson were able to give an apparent front-back depth of field WITHOUT the use of stereophonic mixing. It's hard enough to get that feel out of a stereo mix (M/Sed or not!), which frankly makes the 1966 mono mix a work of pure genius. Seriously, this one album deserves to be carefully studied by ANYONE working with audio engineering, whether they do electronic music or not!