• The Record Press

Rachel Frieda, The Caesareans


Written by Georgia Carr


The Cesarians’ last album was a dark cabaret-cacophony of brilliance. And while Rachel Frieda is different, it is no less impactful. The pure atmosphere that is achieved in their sophomore album creates more of an ethereal, and perhaps a more controlled feel. Finke’s voice also shows this dynamic change too, it is less restrained and chaotic and seemingly more melodic and focused. However, his poetic, poignant lyrics are still present and just as impactful. It is as though a child experiencing mood swings has grown up, controlled, but still pessimistic and angry. As in their debut, the use of orchestral instruments is so defining of the ‘Cesarian’ sound, but they are more controlled and restrained, lacking the frantic brilliance of

the predecessor. There was more use of a straightforward electric guitar in this LP, which was refreshing and demonstrates the versatility of the band and transforms the dark cabaret of their past into more of a rock-orchestral feel. LSDeanna seems like a homage to the debut, with its manic violins and penetrating Beetlejuice-esque piano. The difference in this is Finke’s vocals, higher and more controlled. An echo is created between him and the backing singers, cementing the hopeless feeling of the song. The political message of LSDeanna is also reflected in Death in London, the despondency of the “country gets you down” seeming to encase the 2020 experience in a nutshell. The sinister aura of the music and the snide lyrics both together and singularly comment on the current political situation of Britain. The Cesarians have created a melting pot of musical styles that blend perfectly to create an album that is essential listening. The multiple genres and their morphing of styles makes this album captivating and unpredictable. It is a journey of music and politics that is so defining of the 2020 experience of many.




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