Swedish composer, producer, DJ and pianist, Rasmus Faber, has won great acclaim over the years for his consistent ability and talent to create fantastic music, be it for dance floors, games and beyond. Rasmus’ latest project sees him delve into the world of ambient and neo classical soundscapes for the first time, delivering a stunning album titled ‘Where Light Touches’ [A NIMA Story], inspired by and in collaboration with Los Angeles based illustrator Ross Tran and his ’NIMA’ book. We caught up with Rasmus to find out more about his very unique body of work.

WWD: With a rich musical background steeped in dance, electronic and jazz music over the last 20 years, your new album, ‘Where Light Touches’ [A NIMA Story]’, is a massive departure from your previous musical output. What inspired you to explore ambient / neo classical sounds and compositions, is this something you’ve been wanting to do for a while?

In recent years, I’ve been composing music for films, TV series, games, etc. I’ve been going more into the scoring music side of things, writing for orchestras, etc. It’s a really wonderful way of making music, very different from dance music, club tracks, pop singles, etc, that I’ve been doing before. I started to plan for an album drawing on my experiences from film, but without any constraints. So it’s been on my mind for a while I would say. During those years I was making mostly house music I was also always feeling the connection with that calmer, deeper kind of expression, so it’s really nice to finally let it out.

WWD: So, the album is a soundtrack to Los Angeles based illustrator Ross Tran’s (RossDraws) ’NIMA’ book. How did you both meet and how did this collaboration come about?

We were introduced as Ross needed a track made for one of his projects. I instantly fell in love with his illustrations. By that time, I had started working on the album, but it was lacking a direction and focus. I suggested that I would write a kind of virtual soundtrack for the book. Ross graciously accepted, and also offered to create the artwork for the album!

WWD: What was it about Ross’ ‘NIMA’ book that inspired you so much to want to create music for it?

Seeing Ross’ art, it was kind of like watching the image equivalent of what I had tried to convey with the music. There’s something about how we imagine a world beyond or own, and somehow, we seem to be drawn to some of the same emotions there, I don’t know. He’s quite inspired by Japanese anime, which I am also very familiar with as it’s what I’ve been writing the most music to over the years. But he also got something distinctly personal and not really tied to any particular style. So I feel a kinship with him also in that sense.

WWD: Have you got a favourite track from the album?

It changes from time to time, I’ve had quite a few of the tracks as my favourite haha, but at the moment I’d say its track 10, ‘Dragon’s Whisper’. It’s very trippy. There’s something very hypnotic about it and I feel it pulls me into my head in a really interesting way!

WWD: The album was written and recorded using Atmos surround sound. What made you decide to fully immerse yourself in Atmos and are you pleased with the final results?

Oh absolutely, it was great! It was so much fun to experience the writing and production process this way. I really hope that people get the chance to experience it, though of course I understand a full Atmos system isn’t so easy to get your hands on. Still, if you’re into music and sound, I would really recommend to try and find somewhere to listen to some records in Atmos at least once! I’m very happy about the results, and the idea of immersing yourself in sound rhymes perfectly with what this album set out to achieve!

WWD: What obstacles, if any, did you come up against writing and recording in this way?

The writing process was very smooth! I think the biggest challenge was writing all the string arrangements. The production process was definitely long, Atmos production takes a lot of time because of all the details. But writing without a lot of constraints is very comfortable and freeing I would say.

WWD: Who else was involved in the project?

There are many people without whom this project wouldn’t be possible. Ross Tran of course, as his art made a huge difference to how the album turned out. Oliver Belvelin is my co-producer in many projects I’m making these days. He’s a master at musical sound design, and created many of the cool textures and FX you can hear on the album. I have a long-standing relationship with Erik Arvinder and his Stockholm Studio Orchestra, the string orchestra playing on this record. There’s a 17 piece string ensemble present on every piece and my close ties with Erik and the orchestra was crucial in this process. They’re a true joy to work with!

WWD: So now that you’ve created an album in Atmos from conception to finish, will you ever go back to writing and recording your music in your usual / old way?

Haha yes, absolutely! I’ve made many more ”regular” stereo projects since I finished the album already. There’s a time and a place for everything, but I am definitely looking forward to the next album I can create in Atmos, it’s a great experience!

WWD: In terms of listening audience, who is this album for?

I hope all people can listen to it, but maybe not all the time :), I mean, it’s definitely a reflective and escapist journey. I feel like it fits quite well for when you are kind of in a dreamy state. So maybe the people who are in a dream mood often, haha!

WWD: Will you be taking the album on tour? 

It would certainly be interesting to plan what that might look like. At the moment, there’s no plan for that, but it would be amazing to get the opportunity to experience it live!

WWD: Being a newcomer to the ambient / Neo Classical scene, have you come up against any challenges / snobbery from those circles in terms of getting support?

Not yet. I haven’t really thought about it, and I’m definitely not part of any such circles (yet). It would be interesting to hear what some more experienced in that scene would have to say.

WWD: You’re also a composer of music for Anime in Japan, and have composed music for the Meta Quest VR platform, AAA games such as Metal Gear Solid. How did all this come about and how does your creative and production process differ from making singles and albums?

I started making music for anime gradually, as I was spending a lot of time touring in Japan as a house music artist. I always wanted to compose soundtracks, work with orchestras etc, so I focused quite intently on getting into that scene in Japan, and I think my house music career and my presence there really helped. Then once that got going it was easier to get more and more opportunities in games etc.

WWD: What pearls of wisdom / advice have you to offer to up and coming composers and producers?

I don’t know if there’s any general advice, everyone’s so different. Generally speaking, work really hard and hone your strengths. There are millions of people out there making music, and it’s really only possible to stand out with whatever you have that no one else (or at least not so many) has.

WWD: As a multi-instrumentalist, what are your thoughts in AI generated music, and have you been tempted to have a play around with it yet?

I am quite interested in AI generally, and a little bit worried what’s going to happen when AI music gets really good. But I don’t think it’s possible to stop the development, and I don’t think we should try, personally. I have played around with it a little bit. I can’t really find any use for it right now, but I’m sure in the future there might be all sorts of problems it might be able to help to solve!

WWD: What else are you currently working on that you can tell us about?

As a very stark contrast to this album, my next project is actually a house album project! I’m going back to my house music roots a little bit. I was happy to see tempos come back up a bit, and I feel it’s time to bring back some of the pre-EDM energy. So that’s something that I’m really looking forward to!

Rasmus Faber’s ‘Where Light Touches’ [A NIMA Story] Album will be released on May 3rd, 2024 on Farplane Records. Pre-order here