Canadian Musician - May / June 2018 - Page 11

spaced out sessions and different places. But what ended up hap- pening was it ended up being so successful that it was like, “OK, well now we have to make an album to follow this up.” Then when that happened, a much more cohesive process started to form where the three of us and Daniel and the musicians involved in the project were all doing the sessions together and cutting them all at the same places and that is where the more cohesive aspects and elements of the album took shape. CM: From Pilgrim’s Paradise to “Get You” to the rest of Freudian, did you see a progression in Daniel’s performances and his comfort in a studio setting? RB: In particular with his songwriting, he really matured. I feel like Freudian is when he really started to develop a sound that he owns. That was really cool to watch and I think it’s interesting how, like, I feel like Pilgrim’s was more of an acoustic, traditional recording than Freudian and Freudian is more of a mixture of program and acoustic elements. Pilgrim’s had that as well, but, to me, it felt more like a band record. So it’s just interesting and the process was just different because we had more resources to make Freudian and on Pilgrim’s we really had to bootstrap it. He was just at different places in his career, so that meant being able to post up in a recording studio and really flesh out Freudian in a facility rather than in mine and Matt’s production room, which really makes a difference. CM: You expect a lot of electronic instrumentation and effects in modern R&B and soul, but it actually sounds like Freudian is a pretty traditional instrument-driven record. RB: It’s funny, more of the album is actually electronic than you’d probably think by listening to it. We would take organic sounds and manipulate them electronically so that something sounds classic, but it’s new, you know what I mean? Like on the early Freudian sessions, there was a lot of experimenting with different sonics and guitar tones and just different vibes. Once we hit on a specific guitar tone and sonic characteristic, I feel like it was intentional to remain cohesive to the sonic landscape that was being built. That just helps the album be cohesive and not have like an ‘80s guitar tone with ‘60s vintage [drums] or whatever. It is kind of like once you locked into a certain style of how we tracked the guitars and the sounds of those, then we kind of stuck to that throughout the album. The same thing with the keys and piano, which are recorded very similarly throughout the album. That was definitely an intentional thing. CM: Daniel’s voice sounds pretty pure on the album. Were you doing much with effects or in the mix with his vocals? RB: Yeah, I’ve built a chain that is for Daniel that I’ve used since Pilgrim’s and it’s really not varied too much since then because we found a sound that we love and haven’t moved too far off of it. The one thing that I did change for Freudian from Pilgrim’s is I’ve been using different reverbs. I use a lot of early digital reverbs because their sample rates are low and they’re generally fairly warm. I find that complements his voice pretty well. That is something I probably changed f &RFFRFW"'WBW7FǒN( 2&VV&WGG667FVBFV6W6 4Ӣb^( &RvƖrF6vBV6R2FBf66$#Rr( vrFfRFVW6RbFR6V7&WG26V7&WBF&RW7BFW&R6( BFV6ƖRFFRfW'6P&6W2Ff62&V6W6Rf62RFrFBbR7F'@ffV7FrBFV6B7F'G2FfVVVGW&BVGW&f62&R&VǒV6f'F&RऒFVRfBfW&ǒ&6W76VBf62V6f'F&R'W@FWF( BrvFW( &RV6f'F&RN( 2&V6W6RWfW'Pw2vBf6R6VG2ƖRBbRgV6vFFBFV6B&V6W2W72f֖Ɩ"vW&V2FRfW&vRW'6FR7G&VW@FW6( BV6W76&ǒrvB6&RG'VW&VFǒ6VG2ƖRf"WR&V6W6RFWfV( BǗ6VB66VǒvB6&PG'V6VG2ƖR'WBf6RFW7B6W'FǒFr6F@2vW&R7B7BW6FBF&Vǒ&VBv2G'F֗גf622GW&276&R6f"RW722&R4ӢFVBFrV6RFBv26VWV7FVB"VVRvR&V6&Frg&WVF$#&RRf"WR2FBFRwVF"6( FRPv( 2BwVF"V6( B6vBB2'WBFW&R&R@bFw2ƖRFBvW&RB2ƖR( vBbvRFB6WFrG&FЧFƖRwVF"6"6WFr'WBBW6RwVF"6( ХRrvBV6BfVV2ƖR6762FrR6FVЧFgB&VFRF'WBFW&R26WFrWrBg&W6&WBBFN( 26WFrG'F'&rFvFWfW"v^( &Rv&r@FW&R2FB7&R7&72g&WVF֖6V&R2FR6V"VFF"b6FW66ࠐ2BR22( "