Ludwig Göransson

Three of his ten planets sit in fire signs, three in earth, three in water and one in air. Nothing is missing except the element that stands back and explains itself. Göransson composes, and the record names Black Panther, Oppenheimer and his production work for Childish Gambino.

The Sun sits on the ninth degree of Virgo with Mercury near the start of the same sign, and the Moon, Saturn and Pluto group across twenty six degrees of Scorpio while Mars, Uranus and Neptune fill twenty of Sagittarius. Virgo gets the detail exactly right; Scorpio withholds; Sagittarius announces. A composer scoring films of that size has to do all three, and the chart gives each one a group rather than a single planet.

Venus sits in easy contact with Pluto at an eighth of a degree, taste on comfortable terms with concentrated force, and Venus itself sits on the first quarter degree of Libra while Pluto sits on the first six minutes of Scorpio. The Sun sits square Uranus at under half a degree and square Mars at just under one. Mercury and Neptune were the two retrograde planets, which turns speech inward. In a composer, taste at ease with concentrated force is the aspect a score for a very large film gets written through.

By 16 December 2019 Jupiter had returned to its Capricorn birth degree, at thirty five, and two circuits precede it. Capricorn asks what was paid out to get there, and for a record naming two very large films and a producer credit, what was paid is the question none of the three answers on its own. Identity braced against both the break and its own drive is the structure to keep: a chart that argues with itself and scores other people's pictures for a living. Two planets on the first degrees of their signs, taste and concentrated force, tied together at an eighth of a degree, is the detail underneath it. With a single planet in air, none of that was ever going to be settled in conversation.