Erik Lankin is a composer and producer of new classical music based in Montreal (Tiohtià:ke). Erik combines classical orchestration with contemporary sound design. He channels the full spectrum of emotion into instrumental soundscapes, which are compellingly narrative and evocative.

From 2020 to 2023, he assembled a team of some of Canada’s most accomplished classical soloists and neoclassical producers to realize his vision for his highly anticipated debut release: The Icarus Album. Using music, Erik reinterprets the myth of Icarus and Daedalus as a metaphor for losing his father to mental illness. His music flows between grief and torment to find places of hope, triumph and healing, reflecting his personal journey of coping with loss and finding meaning in music.

On the single, “Daedalus Requiem,” Erik has this to divulge on the inspiration of this track of deep meaning to the composer:

I reimagined the myth of Daedalus so that it was him and not Icarus who fell into the sea. Leaving Icarus alone, grieving and aloft on the broken wings he inherited. This song sings the passing of Daedalus into the underworld.

1. Tell us the story of this song, why did you choose to visualize this song specifically? 

This song is the debut single from my project The Icarus Album. It is an instrumental reinterpretation of the myth of Icarus and Daedalus, reimagined so that Daedalus falls to his death and Icarus must fly onward on the broken wings inherited from his father. Told this way the myth becomes a metaphor for losing my own father to suicide. This track specifically opens with the final breaths of Daedalus and sings his passing into the underworld. Visualizing the track gave the opportunity to add another axis to the emotional expression.

2. What was the inspiration behind this video (visuals, storyline, etc.)? 

For this video I worked with creator Franklin López who edited and directed the project. I mostly gave Frank free reign as I trust his creative vision and wanted an alternative visual context from the reimagined myth which I had been leaning on heavily for my other visuals. The only notes he had from me for inspiration besides the music was my description of the story and which part was being told by this track. His focus on underwater choreography of synchronized swimming was such a profound and beautiful surprise for me.

3. What was the process of making this video?

I sent Frank the music and he worked from scratch. We passed drafts back and forth a few times but most of the feedback I had was on the level of post-production nitpicking like which cut goes where and which color filter to use. I had anticipated the most difficult part would be dealing with the intense subject matter but I felt like all of Frank’s choices were both tasteful while still fitting with the difficult emotions. He has also prepared videos for a bunch of the other tracks which I am excited to share when the time comes.