San Fermin: The Cormorant and Turning 30

than in the special-effects razzle-dazzle of a Marvel movie. The musical equivalent of the cinema’s CGI are studio gimmicks that sound good one year and dated the next. The musical equivalent of cartoon characters are shock-value lyrics that upon a second listen prove as shallow as they are clever.

Such thematic, long-form music is a staple of both the classical music that Ludwig-Leone was trained in and the rock ’n’ roll that he has always loved. San Fermin’s first two albums were both concept albums about modern romance, and the composer has also been working on ballets, operas and choral works.

Of all the memories that the dreamer dredges up for the cormorant, the most compelling are those about fraught attempts at romance. “Summer by the Void” describes the feeling at 17 when “the air around was abuzz with the sound of summer romance in the branches…. I’m adrift on a sea of something just underneath.” Singer Allen Tate captures the druggy feeling of first love, while the horns warn of the heartbreak void just a step away.

“The thing about having these singers is that the songs are never all about me,” he says. “Even if it starts that way, it gets fictionalized. It has to be a bit theatrical because I know another voice is going to sing it. When I’m writing for the female voices, there’s more imagination involved, a side of me that I don’t always let out comes out. But whenever I become too self-absorbed and nostalgic, I have the female voice come in and say, ‘Stop being so indulgent.

Ludwig-Leone, who studied composition at Yale and apprenticed under classical composer Nico Muhly, has the chops for writing this kind of music. Like Radiohead’s

Source: Entertainment Trends (entertainmenttrends.net)

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