By Blake Parker
Jameson Nathan Jones’ new album, What Dreams May Come is a lush and atmospherically dense collection of electronic and neo-classical works. The sounds are pure and clarion from the start and recall something similar to the fantasy and sci-fi video game compositions of Jack Wall mixed with the cinematic and massive film scores of Hans Zimmer, as well as the acoustic and electronic textures of Helios and Jon Hopkins.
The album leads with the title track, What Dreams May Come, which meanders as if through planetary explorations from chord to chord with synthesized bass and breathy pad sounds accented by a sparse cello. Jones wastes no time exemplifying the electronic side of this album with this first track. However, the acoustic side of the album follows cordially with acoustic piano leading the melodic female vocals of the second track, Fallen (feat. Hannah S+umner). The album continuously bleeds in and out of either school of music – acoustic or electronic – but in a smooth and unnoticed way, suggesting that these styles are meant to be paired in the hands of Jones.
What Dreams May Come presents a beautiful and captivating collage of instrumentally intense moments with a wide range of emotional and rhythmic activity. Every carefully crafted measure of this album supports the overarching purpose in the music, the lush and grandeur movements of each melody. In full, this album is tonally and thematically focused towards effective and nuanced storytelling, with few melodic or rhythmic tangents to provide depth to the core of the album’s presentation.