G.E.M.’s eighth studio album weaves cinematic sounds into a high concept narrative to create a powerful testament to resilience in turbulent times. Harnessing biblical imagery to explore themes of love and faith, REVELATION is divided into two complementary halves—Letters to Heaven and Letters From Heaven—that allow the artist to explore interiority before unleashing her showstopping vocals. Working with producer GONG on tracks that tap retro-dance vibes, contemporary R&B and experimental elements, G.E.M. designed the album with Spatial Audio in mind as a way to a way to expand its sonic dimensions to complement its epic themes. Below, G.E.M. shares some of her thoughts about the album with Apple Music: There’s a strong movie soundtrack vibe to the sci-fi and utopian world-building on REVELATION. How did the sound design bring this out? “For me, a ‘movie soundtrack’ style is a way of expressing dramatic tension. The album has a very simple theme—love. Love is the answer to all questions. The greatness of love encompasses and contains everything, which is why the overall sound design of this album feels grander and more majestic.” Did you consider anything in particular when designing the 360-degree panoramic sound for Spatial Audio? “I had lots of ideas about this from the early stages. I collaborated with quite a few musicians who all kept mixing in mind while arranging the music so that working on the panoramic sound later would magnify the ingenuity of those arrangements. Personally, I think that lots of songs—in Letters From Heaven [the second half of the album] especially—really bring out this sense of space.” Which three songs would you recommend in Spatial Audio and why? “‘GLORIA’, ‘PASSION’ and ‘THE END OF NIGHT’. The arrangement of ‘PASSION’ breaks a lot of norms, which will hit even harder in Spatial Audio. I’ve chosen ‘GLORIA’ and ‘THE END OF NIGHT’ because the Spatial Audio versions really manage to convey a sacred, heavenly feeling.” How did you approach your singing on this album? “The seven songs in Letters to Heaven [the first half of the album] really feel like my prayers during difficult times. The heart’s private voice will always sound more restrained. By contrast, the seven songs in Letters From Heaven—apart from the hushed vocals at the start of ‘GLORIA’—are more exuberant and passionate, because love is full of passion.” You brought the producer GONG in for this album. What was it like working with him? “I had heard his music and liked it. I eventually got his contact details from a mutual friend and DM’d him to ask if he wanted to collaborate. Simple as that! We actually have quite a lot in common—we’re both introverted but adventurous with our music. Also, we both love purple! He might even like purple more than I do. [G.E.M.’s name in Chinese contains the character for ‘purple’.] During production on the album, I’d go to his studio in Jiangsu to work on the arrangements and he always had purple lights on that gave the place a lot of atmosphere. Later, when he came to Shanghai to help with recording, I had white lights on in the booth but he put on purple lights in the control room. No wonder our collaboration clicked so well.” You’re best known for songs with a big, anthemic style. Can you share what led you to experiment with other styles on this album? “I have pretty diverse tastes in music. I wouldn’t call these styles ‘experimental’, actually—it’s just the kind of music I like. My philosophy for making an album is simple: I express my own values through the styles of music I like.” This album is full of biblical references. Is there a particular creative idea or experience behind these themes? “I am a Christian. Faith is the most important thing in my life, without question. Through the highs and the lows, my faith has always sustained me as I move forward. So I think it’s only natural for those elements to show up in my music, because my life is inseparable from my faith.”