Loke Rahbek




When I was asked to write this text, I had just met someone who has long been a source of inspiration for me for the first time the night before: Stockholm-based soundtrack composer Erik Enocksson. Whenever I’ve been asked to give musical recommendations, he’s the first name that comes to mind.

The first time I was introduced to his work was his Apan LP, released on the now defunct Swedish label, Release the Bats. It didn’t leave my record player for months on end. When I had finally sucked every second out of it, I turned to his other work and was surprised to find a broad palette of sound. The rather stoic nature of Apan was different from the almost humble sound of acoustic guitar and organ on his Farväl Falkenberg soundtrack. and still there was something so similar in the mood, something so Erik Enocksson.

You sense an eagerness to explore throughout his work, an eagerness to try out new routes. But even when he is walking new paths, he does it with a pair of boots that is so distinctly him, they seem to leave a recognisable footprint anywhere he wanders off to. I wandered with him for an early evening that turned into a late night, going from bar to bar through Stockholm, talking about small and big and our getting languages confused more than once. I felt very happy that I got a chance to do so.