Anna Aaron's journey has started in 2007, when she released her first EP, recorded with friends around her hometown Basel. Fellow Swiss songwriter Sophie Hunger discovered the collection of intricate acoustic folkminiatures on the internet and introduced Anna to her record label Two Gentlemen in Lausanne, who subsequently signed her in order to release the debut album "Dogs in Spirit" in 2010. After that Anna accompanied the Erik Truffaz Quartet as support Act on their European tour, she collaborated with them on three tracks for the album "El Tiempo de la Revolución", released 2012 on Blue Note. Anna went on tour again with Erik Truffaz, taking trips to London in between where she had started recording the second album with producer David Kosten (Bat For Lashes, Faultline, Marina And The Diamonds) and London-based musicians Ben Christophers and Jason Cooper. The futuristically-the med, synthpop-influenced album Neuro was released in 2014.
In January 2019 Anna released her third album "Pallas Dreams" - “Into the heart of an immense darkness” is where the river leads, and those who dare follow it will encounter a world populated with mysterious beings; a forest of wonders that holds both terrors and treasures for the one who embarks on the journey inwards; the quest for the personal secrets of the imagination. “Pallas Dreams” is an exploration of the images Anna Aaron absorbed during her childhood when she was living with her family in the city of Manila in the Philippines: an attempt to transform into music and words these memories of a strange world that lay hidden in the darkness of the jungle and might just as well have been lost forever – bearing devastating beauty as well as deadly poison; the foreign world she remembers in her dreams became the symbol for the unknown land of her own mind. Sensing the imminence of an obscure but inevitable psychological development at the center of her life, the thirty-year-old now living in starkly contrasting Switzerland undertook an expedition into the archive of her memories: echoes of sunlight, flickering heat above the corrugated tin roofs, slaughtered dogs, gas lamps, mosquito nets and rashes, floods of rain, spiders bigger than your hand and blacker than the center of your eye. There were strange spiritual events too, like the phrase she was told by a stranger in the streets: “when the sun dances in the sky, Mary cries blood”, or the myth of the White Lady: a ghost that haunted the street where the family lived on the weekends and inspired so much awe in the locals that it was impossible to find a taxi driver who would take you to that address after nightfall. As an answer to the idea of the ongoing battle between God and the devil she was brought up with Anna offers her personal string of ambiguous fairytales: light and darkness inexplicably working together to create a labyrinth leading you beyond the realm of words and names. Out of the depths she brought back the images in an attempt to make a whole person out of herself; to reconcile conflicts born from living with an overactive imagination under the roof of Christian missionary religion while in the middle of an environment seemingly deeply and wildly enchanted. By awakening back to life her own creatures of the night, she created a dreamworld for herself in which her past experience was finally able to make sense. Pallas Dreams speaks to us about the courage and the determination that this takes, and the extraordinary power it brings forth if it is done with dedication and humility.