Daniel Caesar, a Canadian R&B and soul musician, has had a gradual yet successful rise to fame over the past decade. His collaborations with Kali Uchis and H.E.R. on his 2017 debut album, “Freudian,” have garnered billions of streams on Spotify. His music has a history of attracting attention from critics, with Caesar winning a Grammy Award in 2019 and being nominated for eight others. Others may know him for his verse feature on Justin Bieber’s 2021 single, “Peaches.”
After two and a half years since his last album release, “NEVER ENOUGH,” Caesar returned to the spotlight with “Son Of Spergy,” released on Friday, Oct. 24. Much of the album centers around Caesar’s relationship with his father, Norwill Simmonds, who has the nickname Spergy. But just as prevalent is Caesar’s connection with the Lord, creating a web of father-son dynamics where lyrics can apply to both his tangible relationships and his more internal religious ones.
“Rain Down” starts off the album as an emphatic prayer. Caesar’s voice rises towards the heavens while a soul choir echoes the aching refrain: “Lord, let your blessings rain down on me.” British soul singer Sampha’s voice drifts in and out of the audio channels, fleshing out the vocal-rich texture that the album nails perfectly.
The next track and lead single, “Have a Baby (With Me),” shies away from religious connotations, with Caesar singing from the perspective of someone in a waning relationship. The narrator knows the feeling of love between them is gone but expresses interest in having a child to keep them together, or, at the very least, to leave a legacy of their relationship. The chorus is urgent, with Caesar advocating that “We could leave something here / It’s too late for our dreams / We can make a new dream,” a longing lament that trickles into a sampled, urgent outro.
In many ways, “Baby Blue” feels like the centerpiece of the album. The song’s structure shifts between R&B-focused drums for the chorus and comfortably laid acoustic guitar for the verses, with a string section and background vocals shifting in intensity for each. The guitar is a bit of a shift for Caesar and something that becomes more prevalent as the album progresses. The song affirms the solace Caesar gets from faith but can also speak to the love Caesar feels from his father. As if to drive the point, Caesar’s father, who is a gospel singer, leads the final verse, full of biblical allusions and possibly the most stunning moment on the project.
“Moon,” the third single for the album, is another standout, this time featuring indie folk artist Bon Iver. It’s a mellow ballad where Caesar’s stirring croons fade into resonant synths and slide guitars. A steady tambourine rhythm and guitar riff guide most of the track, though the back end is a spacier mix of synths and piano that sync with Caesar’s layered vocals.
The acoustic folk-like direction of many of the songs makes certain stretches of the album blend together, especially since many of these songs incorporate easy-listening meditative piano sections as well. The style lends itself to the reflective nature of Caesar’s songwriting, but may seem slow and safe compared to the more R&B heavy base he usually works with.
Still, operating with this minimalist framework makes the more adventurous moments feel even more unique. The third track, “Call On Me,” maintains steady jolts of electric guitar for aggressive, spaced punches that hold your attention.
Meanwhile, “Sign Of The Times” starts with Caesar and a string section almost dancing with each other as they rise and fall with emotion. Halfway through, a wicked bassline takes over, and Caesar forgoes his soulful singing style for a steadier R&B cadence.
Caesar enlists the assistance of Bon Iver again for the eight-minute closer “Sins Of The Father.” Caesar muses about pressure placed on him by his parents and reflects on his own shortcomings, hoping for change as drastic as “alchemical transmutation.” The lyrics equally tie in with the Lord; the dichotomy unravelling amidst a dense, triumphant instrumental arrangement.
After nearly a minute of silence, the second part of the finale kicks in, an even more reflective ballad with a barren piano as the guide. Vocal contributions from Justin Vernon, frontman of Bon Iver, dominate the outro as he labels forgetfulness and broken promises from Caesar and his Simmonds as sinful. The angelic vocal swells end off with the words “Turn around, oh child of mine,” settling on a sense of solace despite the transgressions.
Rating: 4/5