The Cormorant I
Better, 2019
9/10
As far as orchestral pop goes, it doesn’t get much better than San Fermin, the outfit spearheaded by Ellis Ludwig-Leone. Now 4 albums deep, Ludwig-Leone and company are always coming through with thoughtful, innovative song craft that never lingers in one category for very long.
“The Cormorant” starts the listen with melodic piano as the pop influence seeps into the artistic prowess, and “Cerulean Gardens” follows with a quiet, acoustic tune where strings and dual gender vocals add much to the gentle landscape.
Though there’s just 8 tracks, each one leaves an indelible mark, especially the soft horns and elegant textures of “Hickman Creek”, while the immense beauty of the vocally expressive Samia adds to the building power of “The Hunger”, which is one of the album’s best.
Back half highlights include the multifaceted folk approach of “Summer By The Void”, and the subdued, rhythmic modern-pop of “The Living”. “The Myth” exits the listen with pretty female vocals on the flowing and breezy, ultra-melodic and soulful delivery.
A record that tells a story of a man and a woman from childhood to adulthood to death, Allen Tate’s vocals are weaved together with 4 different female lungs here, and the vast skill of the rest of the players unfolds with much precision in their avant-garde formula.
Travels well with: Sufjan Stevens- Seven Swans; Lost In The Trees- A Church That Fits Our Needs