Erik Lankin is a composer and producer of New Classical music. His work combines classical orchestration with contemporary sound design. Erik 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. Erik‘s dual ambitions on the levels of musical theory and emotional vulnerability were able to secure him multiple funding requests from the Canada Council for the Arts despite being an artist who seemingly came out of nowhere.

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

This song is the latest single from my project The Icarus Album. It is a neoclassical reinterpretation of the myth of Daedalus, reimagined so that Daedalus falls to his death and his son Icarus must fly onward. Interpreted this way the myth becomes a metaphor for losing my own father to suicide. In the music leading up to this track Icarus has overcome his grief and learned new ways to fly on the broken wings his father left him. Now he pauses to reflect on the life of Daedalus, complete with all its faults, and with a grand orchestral swell, invites his father’s spirit to take its place among the honored ancestors.


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. He unknowingly chose footage of a young man who perfectly resembles a mashup of me and my father at that age. Similarly the video of the child flying a model rocket could have easily come from my own childhood. This context means I can only watch this particular video when I’m ready to feel very sad.

 
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.