Starting with 2001's
Point,
Cornelius'
Keigo Oyamada took a gentler, but just as inventive, approach to his music by forsaking surprising contrasts in favor of thoroughly exploring a few ideas and sounds on each album. He seemed to reach the apogee of this style with
Mellow Waves' delicate ebb and flow, but
Dream in Dream might be an even lighter and smoother excursion.
Oyamada uses a tightly curated palette to create its ambient-jazz-pop meditations on perception and impermanence: warm, buzzy synths, shimmering, droning electronic washes, and guitars that are either taut or rippling. He combines these 1970s and '80s-indebted musical building blocks with the same imaginative attention to detail that made
Fantasma's collisions of
the Beach Boys,
Bach, and
My Bloody Valentine a Shibuya-kei masterpiece, and
Dream in Dream reveals other connections to
Cornelius' music as a whole. "Change and Vanish" begins the album with a spacious, tender,
Mellow Waves-like invitation before getting lost in spiraling synths. Driven by live drums, "Sparks"' laid-back but intricate pop is as captivating as
Sensuous' "Breezin'" or
Point's "Drop."
Dream in Dream often resembles a more minimalist version of the latter album; like
Point, its streamlined gestures express a universe of moods. "Night Heron"'s chilled-out funk has a mischievous slink that evokes the music of frequent collaborator
Shintaro Sakamoto, who penned the lyrics to "Drifts," a flickering reverie embellished with theremin and clarinet. Two of the album's highlights touch on
Cornelius' other projects and friendships. He gives a city pop sheen to "Environmental," a song he originally performed with the supergroup
METAFIVE, whose founder,
Yellow Magic Orchestra member
Yukihiro Takahashi, passed a few months before
Dream in Dream's release.
Oyamada pays tribute to
Takahashi again on "All Things Must Pass," naming its bittersweet acceptance of life's comings and goings after one of his favorite
George Harrison songs. ~ Heather Phares