[ Overview ]

San Fermin was delicately pieced together and masterminded by Ellis Ludwig-Leone, a composition student from Yale that set out to go against the grain of typical band origin stories. Ludwig-Leone devised a mechanism in which he could channel his understanding of melding abstract melodies with grandiose arrangements and in which he could explore motifs of love, casualty, and mortality.

Jackrabbit is the second byproduct of Ludwig-Leone’s vessel and overall is an evocative and epic journey of existentialism fused with semi-experimental classical influences and fueled by colossal pop sounds. The baroque pop album is an intense cinematic union between an array of instruments, both material and human. From flourishing string ensembles to brass break downs, the small orchestra is weaved seamlessly with vocal euphoria. The aerobic and powerful vocals of Charlene Kaye married with Allen Tate’s mesmerizing and soothing baritone navigate the listener through the epic, illustrating that Ludwig-Leone’s compositions aren’t the only perfect pairings, but also everything he’s placed in between.

There’s versatility within each meter and throughout the collective record; from the pop inspired hits, Emily and Jackrabbit, to the grim undertones and nuances within The Woods and Woman in Red. When given the time to listen to in its entirety, San Fermin takes us on an eye opening journey of existentialism within fifteen diverse tracks.

Classically fresh and complexly simple, Jackrabbit is a rewarding experience worthy of our full attention and uniquely demonstrative of the fact that as music continues to evolve into the future, we cannot underestimate the use of the classical foundations in which it emerged from.