Anna Aaron - The neuromancer of Basel

In Prague there's an unexpectedly mild climate, and the soundcheck for tonight's concert at Palac Akropolis, a small but very lively club tucked away in the nearby outskirts, has just wrapped up.

Anna Aaron, one of the most interesting artists to have debuted in recent times, is a minor star in Germany and, naturally, in her native Switzerland. The shy simplicity with which she welcomes me into her backstage area is, however, disarming. So I decide to break the ice like this:

"Nice to meet you, Anna. You know, at OndaRock we're devastated that you won't be coming to visit us in our country on tour!"

She, already seemingly taken aback by this outburst, widens her blue eyes and replies:

"You're Italian? You really have to forgive me, I assumed you were Swiss too - from the Italian-speaking part, obviously. But how did you end up here?"

"Well, if the mountain won't come to Mohammed..."

The subject's lack of any star-like airs doesn't stop us - if anything, it helps us - discover a strong personality that's firmly focused on the matter at hand. The interesting conversation that follows tells us a lot about the themes of her work and how it came into being.

Anna, forgive the obvious question, but what's the meaning behind your stage name?

It doesn't have a real meaning, I've always called myself Anna, in my head. It's always been my secret name. Well… now I'm afraid it's not so secret anymore (laughs, ed.).

Maybe now the secret one is Cécile Meyer. But regarding Aaron, does it have anything to do with Aaron from the Bible?

No, actually no. I wanted a man's name and a woman's name and I chose those.

I had assumed that your pseudonym was also inspired by the Bible, as it was for “Dogs In Spirit“.

It's true that “Dogs In Spirit” has some references to the Bible, but not to the point of considering it an album primarily influenced by it - there are a few elements but not that many. For example, in “Fire Over The Forbidden Mountain” I'm referring to Moses' mountain, and Moses was indeed Aaron's brother, but it's a pure coincidence.

Let's talk about your latest work “Neuro“: as pointed out in the review by Vassilios Karagiannis, who also collaborated on this interview, its title is inspired by Gibson's “Neuromancer”, a seminal cyberpunk author. I take it you're particularly fond of the genre.

Yes, I love it. The great thing is that I didn't know it until I deliberately went looking for it, when I started reading science fiction books as a source of inspiration. Getting to Gibson was a natural step, since he's a master of the genre.

And why did you want so strongly and stubbornly to pursue this vein for this album, to the point of practically studying it?

You know, “Dogs In Spirit” wasn't very, so to speak, “urban”: deserts, mountains… things that aren't part of my natural environment anyway. I mean, I don't live in a desert! What I perceive as my environment are big cities - like Manila, an immense city - so I preferred to follow that vocabulary.

What I discovered with “Neuromancer”, or with films like “Blade Runner” and “Ghost In The Shell“, is something rather amusing in a way: in science-fiction the protagonist is technology, but there are also spiritual themes that I find truly moving. For instance, “Ghost In The Shell” is a genuinely touching film.

And specifically, which aspects are especially close to your heart?

The union between technology and soul. I imagine, in our era, a new concept of magic. We have electricity and the digital world. In the Middle Ages there were the concepts of body and soul, clearly distinct, with the latter being very distant from people since it was the exclusive domain of certain social categories, like the Church, and above all because it was invisible. What was visible and tangible was only the body. Today we have three levels: the physical, the spiritual, and the digital! I find that moving.

I experience the digital and the virtual, from my personal perspective, as something that has magic within it, even though of course I know very well that it's the product of science, mathematics and computing.

I imagine you've also read Arthur Clarke (author of the novel “2001: A Space Odyssey”, as well as screenwriter of Kubrick's film of the same name)! His famous line is “any sufficiently advanced technology is indistinguishable from magic”.

I agree, it's also one of my favorite films.

I read in an interview from the “Dogs In Spirit” period that you said you had a particular connection with the theme of the body. “Neuro” makes me think you're shifting more towards extra-corporeal themes: virtuality and the perception of reality above all. Is there a change underway, or had you always been following this path deep down?

I don't think I'll ever leave the corporeal aspect behind. The themes of my albums can evolve and change, but on stage my approach will always remain very physical. I try to push my limits to the maximum, obviously first and foremost with the energy of my voice; singing is such a powerful act! Sometimes I even think it's a trait of femininity, this vocal power that I perceive as almost healing. I have no basis for this, I haven't read anything to support this idea, it's all just something I feel I intuit.

I have to confess something: when I'm at home tending to my garden, if I see that my efforts with my little plants are failing, I start singing to them!

Sticking with the concept of magic, then!

Yes, or of desperation! (laughs, ed.).

To go back to the technological angle: you must have noticed that only in the last few years, mainly through the spread of smartphones, technology has expanded almost violently. There's technology everywhere, and above all within everyone's reach, regardless of social or cultural background, and largely regardless of age. We're all connected, to quote an overused slogan, and certain scenarios foreseen by the likes of Gibson and Philip Dick are actually coming true. How do you experience this, given your sensitivity to the subject?

I think that maybe in a thousand years our ego will dissolve, because we'll be so connected that we'll lose ourselves. Technology influences us every day, all day long, and I don't like that at all. After a while at the computer, clicking here and there, I myself start to feel unwell.

I don't have a smartphone, I only have my computer, my desk, and when I'm done I'm offline, I'm out. This is extremely important to me.

I know the feeling well. Especially if you work in certain fields, it becomes extremely hard to keep a safe distance.

Exactly. And we also have to consider that there's a human need for destruction. And that has nothing to do with being connected. Companies tell us “it's great to be connected”, what they don't tell us is that the human mind is easily prone to addiction, and it loves destruction. This is a weakness of the human spirit, but they're careful never to mention it when they present the web to us. They only talk about the benefits.

Listening to your two albums, I notice a lot of changes. I imagine the sharper, colder, more angular sound of “Neuro” is a natural consequence of the shift in themes. But I think your singing style is also evolving considerably. On your first record you often took on a scratchy, raw vocal delivery, as in “Where Are You David?” or “Sea Monster”. On this new work I sense you're reaching more for the higher register, with a clearer, more ringing voice. Would you agree?

Yes. I think it's due to a change in my personality. I've softened certain aspects of myself, I find myself moved to tears more often now. There's a line I love, from Tarkovsky's film “Stalker”, that says: “When a man is just born, he is weak and flexible. When he dies, he is rigid and insensitive. When a tree grows, it is tender and pliant. But when it is dry and hard, it dies”.

I've worked to break down these barriers, this rigidity that was inside me, and maybe that's why I may have lost a bit of that harshness. Clearly you become more vulnerable, but I'm happy with this change.

As for the sound, though, as I was saying, I find it sharper and colder, with all those synths you've adopted. Is that also down to David Kosten (producer of “Neuro” and, among others, of Bat For Lashes, ed.)?

No, actually those were entirely my own personal choices. Many of the sounds were even taken straight from demos I already had. But I really wanted David for this project, precisely because I knew what I wanted to achieve.

How did you meet him?

I simply sent him the demos, and I told myself: “Let's give it a try!”. And I crossed my fingers. In the end he replied, and it was a yes. It was the best day of my life! (laughs, ed.)

And what's it like working with him?

Great. Really great. And on several levels. Musically he's brilliant: the sounds would just build up, like… out of nowhere! I don't know how he does it, in five minutes he pulls out these things…

But on a personal level too it's fantastic, we really appreciated each other a lot.

How do your songs come about? Do you start from the lyrics and build the rest around them, or the other way round? Or do things move forward together?

Normally they move forward together. I compose on my piano, but also with various software, like Pro Tools.

I really loved the acoustic versions of some of your tracks. “Labirinth” is incredible as just piano and voice! Are you drawn to the idea of trying something completely acoustic, maybe for your next record?

Yes, I really enjoy playing that way too. Last week I did a solo show in Switzerland. Some songs really work well like that, they have a different kind of energy.

The only problem is that so much freedom makes it hard to stop and set yourself a limit, the ideas can overwhelm you!

Can you tell me about the artists you find most influential, or that you simply admire?

I don't think I have that many musical influences, I feel more inspired by films and directors. Right now I'm following Alejandro Jodorowsky a lot, a Chilean author. He's not just a director but also a writer, a comic-book artist, a designer… When I'm at home I mostly like listening to Kate Bush and David Bowie. Oh! And Talk Talk! When I think of “Spirit Of Eden”… (raises her hands to the sky in a gesture of devotion, ed.).

Generally speaking, is there anyone you'd like to work with in the future?

I've never really thought about it. Right now I'm only thinking about David Kosten! (laughs, ed.)

And when will you come visit us in Italy? Tell me you're considering some dates.

Well, I hope very soon! But I think that right now the problem is understanding whether I can have an audience. At the moment I'm pushing hard in Germany, where I'm getting a great response. Maybe next year, who knows!

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