“The album was the outcome of a liveset” – Faber presents “Loophole” on Heimlich Musik


“Loophole” by Berlin-based artist Faber marks the second-ever full-length album released on Heimlich Musik. Having made a name for himself with outstanding festival appearances, he now condenses the energy of his remarkable sound into nine tracks of a unique approach of downtempo. The slowed-down arrangements are filled with powerful, obscure percussions, adding texture to the high-energy productions. Faber is a master at creating an organic interplay between a special kind of darkness and bright, harmonic synth lines underlined by subtle vocals parts. “Loophole” tells a story of contrasts, generating a feeling of traveling through space and time.

trndmsk: How long did it take you to produce the album?

Faber: The actual process of production appeared to me relatively short – somewhat about 3-4 months. Most of the tracks were created in one continuous time period but I had done some sketches earlier already that also ended up being part of the album like the single “Don’t” which I had already drawn up some years ago but it never really fit into the context of my earlier productions.

How did you choose the title of the LP? Is there a special meaning behind it?

The final title “Loophole” was a very recent decision although I had thought about it for some time. It is named after one of the tracks on the LP and has a twofold meaning behind it. First, it carries a somewhat spiritual meaning. We all know that time is passing and there is no way around it but we can certainly forget about this fact and also forget ourselves in some moments. For me, those are moments of listening to music and dancing where I can totally forget about time and space and in this way music allows me to take “the backdoor” and escape from everyday life. I want people to feel the same when listening to my music. Second, the track “Loophole” is from a production and musical point of view very important for me and it is one of the central pieces on the album. The track also hints to my latest productions and marks a cornerstone for the production style that I am currently developing. 

What inspired you to produce the tracks and the LP? 

Actually, the album was the outcome of a liveset that I produced specifically for the Bucht der Träumer* Festival last year. I was asked to perform during the afterhour and I tried to imagine the mood of this moment. I designed the set to be slow but still energetic, emotional but positive at the same time, and dreamy but still incentive. And of course, the most important was to tell a consistent story with a consistent sound design and style.

Where and how did you produce the tracks?

I produced everything at home. Although I now also have a studio, I still make most things at home. I feel more comfortable and productive there. When I produce I make most things at the same time and go iteratively through all steps again and again – recording, producing, mixing, mastering. That is mainly due to the fact that I usually play my tracks before they actually get mastered from someone else. So I also need to cover mastering in my process. During recording, I often rely on some “signature” sounds and instruments that I often use. They are somehow the starting point for fresh creativity. My main focus lies on producing and mixing though. I can get totally lost in making the slightest adjustments of filter parameters, timing and creating effects. Very important for me is a natural stereo image and creating depth in the mix. Finally, I go many times back and forth and make adjustments on the master chain and the single stems. Mastering and mixing is in my point of view not completely separated and I always try to focus on the final product and try to anticipate it and optimize it already in the mixing process. Ultimately, I go back and forth by considering all tracks and the context of the set to finalize the tracks.

How was the feedback so far?

It was impossible to imagine the scale of positive feedback that I got after performing at the festival. This album is actually part of this feedback. Many members of the Heimlich Musik crew were present during my set and that is certainly the reason why all of this is happening right now. Besides that, I performed these tracks during the last year (unfortunately less than planned due to the current pandemic situation) and people always come to me or would write to me very emotionally and describe how they feel attached to my music. That is more than I could ever have asked for and it makes me very happy to hear all these individual stories in which people describe their feelings they had while listening to the music. 

How and why did you choose the record label?

That is one of the most relevant facts in regards to this album. As mentioned before, many of the Heimlichs were present when I performed during the afterhour. Shortly after this, we already got in contact. I sent some demos around and the feedback was simply – “Could you imagine releasing an album at Heimlich?” I didn’t have to think twice. First, Heimlich was always a label that I admired and second I always wished that some coincidence like this would happen – right time, right place. That Heimlich would be the perfect label for me to release my first full-length album became more and more apparent during the last year. All of the work and passion the label puts together to realize this project is just unimaginable and makes me profoundly thankful. It’s just a perfect match.

What’s up next after the release? Any plans and projects?

I am constantly working on a second musical project. I had my first release some years ago and there is an album in the pipeline for very long now. I hope to come around with this eventually. The sound is more vocal concentrated, less dance music style and goes more into the directions of hip-hop and alternative RnB like Frank Ocean, but it certainly shares some properties with my music as Faber. For the Faber project I got some requests lately for upcoming releases but I am taking it slow. Also I am constantly thinking about evolving my live-performance to something really “live”. Still, this seems to be very hard for a single person to achieve and somehow I feel more like a producer than a live-act anyways. But, something that I started already was adjusting my production style. I am trying to use more and more hardware to actually appreciate that not everything in making music is under my control. Using hardware during recording makes the outcome more like a product of the very moment and cannot be edited in every detail.

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