![]() ![]() ‘Get You’ is equally sentimental, with the chorus hook (“Who could’ve thought I’d get you”) explicitly regaling true adoration and unworthiness, and portraying a romance that is perpetually anchored in the honeymoon phase. ‘Best Part’, the opening song on the album, is a saccharine ditty that flows through themes of vulnerability and openness, and evokes images of gentle, morning moments between lovers who are in blind infatuation. and Kali Uchis respectively) both stand apart from the other joint ventures for their plush, tight arrangements and vocal performances. ‘Best Part’ and ‘Get You’ (featuring H.E.R. With Freudian, Caesar enlisted the artistic forces of Kali Uchis, H.E.R., Syd and Charlotte Day Wilson, with many of the collaborations producing the finest material on the album. Whether by creative volition or out of circumstance, Caesar has mostly operated independently on his two previous EPs. The muffled synths and snare-accenting guitars hark back to both neo-soul jams and 70s soul records. Yet that R&B feel is omnipresent throughout the album. The album’s sonic spectrum plants it firmly in the services, concerts and conventions that Caesar would have undoubtedly grown up attending. The Hammond organ is generous applied as gloss paint over the majority of Freudian, which provides a devotional sheen to a familiar R&B sound. Gospel roots in the form of choral harmonies can be heard on ‘Neu Roses (Transgressor’s Song)’ and ‘We Find Love’, whilst gospel instrumentation is strewn across the tracks. So whilst Caesar may have left the church behind him, it pervades Freudian. While Caesar draws from elements of R&B and neo-soul, Freudian is grounded in black gospel in both music and subject matter. Lyrics, mood, vocal capability, cohesiveness, presence, and guest features all fit nicely within the 45-minute runtime. So with Freudian, Caesar sought to reconcile the dichotomies that fraught his life.įreudian is a ten-track anthology centred upon sacred elements and secular sentiments, which are packaged in velvety, sensitive songs. The polarity between those devotional and secular styles was mirrored in Caesar’s life by his growing disillusionment with his Christian upbringing. Yet the sounds of R&B and neo-soul were too alluring for a youngster who was exhausting the gospel music on which he was raised. For Caesar, a child growing up in a tight-knit community of Seventh Day Adventists, a mainstream or secularist music culture was simply not a part of his upbringing. However, Caesar also draws from his pious experiences growing up with parents and a community unwavering in their fidelity to their faith. So when Freudian was released late last year, Caesar certainly delivered to the fans precisely what they wanted.Ĭaesar called the album Freudian after learning of Sigmund Freud’s Oedipus complex, finding inspiration in the theory’s proposition that a child has an unconscious desire for the opposite-sex parent, in order to make sense of his own previous relationships. Having released two EPs, Praise Break and Pilgrim’s Paradise in 20 respectively, Caesar has amassed a steadily growing body of devotees who are drawn to his ecclesiastical sentimentality and emphasis on tender intimacy. What we didn’t know, however, is just what Daniel Caesar’s debut album would sound like. ![]() We knew that Daniel Caesar channels his religious values and experiences into the lyrical themes of his songs. We knew Daniel Caesar sings with a Canadian sensibility. ![]() We knew Daniel Caesar grew up on gospel music.
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