Q&A With Pascal Brugger of aeon

Hey, nice to meet you. First, thanks for having me and for this great website. It’s very refreshing to find a free speech zone and I love to read about your guests’ experiences.

OK… So, to begin with, my name is Pascal.

I was born in 1969 (death of the ‘Summer Of Love’, it says a lot) and always lived in good old Switzerland (home of the best chocolate, not Sweden).

My project’s name is ‘aeon’. 

I like to call it a collection of bittersweet electronic soundscapes. I used to play in rock bands but for that solo journey I wanted to free myself from the traditional structures of songs (and frankly there’s a lot of people better than me at that). Basically I’m trying to create something universal, that can talk directly to emotions, without lyrics or catchy hooks. And all that with a minimalistic setup and unusual techniques.

My pieces are always based on a concept. Because there’s way too much zen ‘muzak’ made with fancy synths out there, and I think that the ambient genre is so much larger than that…

For instance, the ‘BUT&KOS’ EP is a transposition of irrational numbers (like PI) into notes that become sweet and/or bitter melodies. 

The ‘endless’ album (a collab with mexican artist [ominous sound]) is a never ending piece that you’re supposed to play on random/repeat mode. 

And the ‘Symbols’ single is a 12 minutes generative piece about belief, a simple 30 seconds loop that evolves through 24 different random parameters to become an hypnotic lullaby.

I could go on for hours but the important thing to say is that, yes, you may think it’s a bit arty and even pretentious but I really don’t want to intellectuallize it too much. You can listen to my work as a background presence without paying much attention to it. Or, you can dive into it with headphones and let sounds guide you to unexpected places.

it’s a bit like abstract painting, different people see different things, based on their emotions and experiences.

Anyway, I hope some readers will want to discover more about my music and I’ll probably come back to it, but we’re here to talk about vinyl, right?

What records do you own that have influenced your music?

Um, I’d say it works both ways. 

Most of the albums in my collection are post punk/industrial/experimental music so they have clearly influenced my ear. And experimenting with sounds myself has led me to broaden my musical taste. 

I don’t have a huge collection but it’s very dear to me because each record is a piece of memory. That’s what I miss about digital music, even if it’s practical. 

To me, the choice of buying a vinyl is more than music. It’s like owning a work of art and also a piece of history for a decent amount of money. I guess that makes me one of those crazy geek, right ?

My records have been patiently collected from the ’80s to this day and trust me they have been played dozens and dozens of times. But it’s OK with me, I like to hear the imperfections and flaws that come with age.

However, I want to say that I never sample anything from it for my musical project. 

Have you ever bought a record just for the artwork?

Oh yes, quiet often. 

If there’s a crate of vinyl on sale somewhere I can’t help myself from foraging it. So the cover is really an important part for my choice (and I was a graphic and Web designer myself for years so it’s not really a surprise).

I remember that day when I literally froze to the cover of Olafur Arnald’s ‘…The Weight Of Darkness’.  It was amazingly simple and elegant. A black background with a kind of solar eclipse on the middle. I was instantly hooked. And it became one of my favorite piece and an inspiration too because the music is just as beautiful.

What is your most memorable vinyl buying/receiving experience?

Oh my… yes, Jack White’s ‘Lazzaretto’.

The whole Internet was in turmoil about it, and Switzerland isn’t the best place to find that kind of rare item because most people just aren’t into underground music (we don’t have that pop culture background like in the US or England).

So I contacted several stores and finally made an arrangement with one that agreed to put a copy aside for me… for 24 hours. 

And then, on release day, I spent hours on a train to the other side of our (small) country and back.

But it was worth it, because I think it’s a wonderful example of what you can achieve with vinyl. 

(For those who don’t know, it has a hidden track, can be played at different speeds and even has an angel hologram on the center).

What’s the most treasured album in your collection and why?

Um… difficult question, I love so many of them.

OK, let me cheat a bit here and choose two.

First, something that is not a vinyl but a true art piece… 

Tristan Perich’s ‘1-Bit Symphony ‘. It’s a transparent CD case including electronic components, a tiny speaker and battery. 

What I love about it is that it’s not a recorded album, it literally plays the tracks for you in real time (and I secretly hope that some glitches will appear with time).

And for the vinyl, I’d say The Rolling Stones’ ‘Sticky Fingers’ because well… Warhol ! 

I have a german early pressing with the legendary zipper. That’s a great example of what I was saying earlier, an original pop art piece and also a strong cultural statement about sexual freedom, all that for a reasonable price. 

And yes, The Stones are obviously cool but I never was a huge fan.

What one record in your collection would you be most eager to share with new friends? 

Um, I guess it depends how close we are…

If he/she knows me well I would probably play something arty that we can enjoy and discuss like Loscil’s ‘Adrift’.

If it’s just a good moment with friends, then I would choose something more casual like Massive Attack’s ‘Mezzanine’.

And if I had the chance to release my music on vinyl I would absolutely play it and talk about its creative process… and get everyone bored.

Do you have a definitive album of choice for spring, summer, autumn and winter?

Interesting question, I like that… 

It’s really a difficult choice but here goes.

Spring : Brian Eno’s ‘Another Green World’ - Rich melodies and positive vibes.

Summer : Purity Ring’s ‘Shrine’ - Luminous retro futuristic tunes with twisted sense of humor.

Autumn : Slowdive’s ‘Souvlaki’ - Hazy and cozy nostalgia.

Winter : The Cure’s ‘Faith’ - One of the saddest album I’ve heard and yet an all time favorite.

What is/are your white whale records, something you have your eye on but haven’t been able to get? 

Well, there are a lot and I think speculation shouldn’t be tolerated on music because it’s really sad and frustrating for real music fans.

To continue with my design obsession, the ultimate fantasy would be to own the original pressing of New Order’s ‘Blue Monday’ 12 inches. The cut out cover created by Peter Seville is a real masterpiece (and it sadly also was a financial disaster for the Factory label).

Who/what got you hooked on records?

That’s a funny story.

When I was about ten a friend of family was working on a Cafe and one day he brought me a big cardboard box full of 7 inches. The guy who was in charge of the jukebox was throwing them away because they had some scratches or were out of fashion.

Oh my… I was in Heaven, so happy and proud to have my own music. I spent the next week playing The Police, David Bowie, The Buggles, Gary Numan, The Knack or Blondie over and over. To the point that, after some time, my mother offered me a little player and headphones because I was driving her crazy.

What’s your favorite record to listen to on headphones?

Anything by Nine Inch Nails/Trent Reznor & Atticus Ross.

The sounds are so rich and perfectly crafted I discover something new each time. Especially on ‘The Girl With The Dragon Tattoo’ soundtrack. Reznor was a major influence on my work (even if it’s not that obvious).

On a side note, I recently discovered Kate Bush’s ‘Before The Dawn’ live performance and I was blown away by the quality of this recording. It’s powerful, warm and very clear just as you were on the audience. 

Tell us a little about your favorite record store.

Well, sadly the city I live in doesn’t have a decent record store anymore. Supermarkets won the fight and sell crappy K-pop for a ridiculous price.

Hopefully our capital Bern is not far away, so I can go there regularly. I like ‘Serge & Pepper’ (their name alone is priceless) because it’s a kind of cellar, a quiet cozy place filled with rock classics and other interesting great finds.

To be honest, my favorite record store would be the one I owned. It’s a fantasy I have for a long time but it seems fate likes to see me broke.

What’s the weirdest record you own? 

Ah ! We’re entering my realm there…

It’s hard to choose again because I have a lot of weird stuff, in format (flexis, floppys, Minidiscs or picture discs of all shapes) or in content (field recordings, spoken words, silence or noises of all sorts).

So in order to stick to my personal musical journey it seems obvious to say Coil’s ‘How To Destroy Angels’ (and yes, that’s where the Nine Inch Nails’ side project’s name comes from). 

I have the original pressing wich consists of a 17 minutes ambient piece with metallic sounds and is supposed to be ‘Ritual Music For The Accumulation Of Male Sexual Energy’ (yeah, right…). 

But the thing I really love about it is that the B Side is unplayable… in purpose. You may think it’s stupid but to me it’s a formidable act of rebellion and, again, a strong artistic statement. 

Have you ever bought a record based on hearing it playing in a record store?

Yes, I remember when I first heard Ride’s ‘Nowhere’. I instantly fell for it and knew I had to have it. 

Some time later I had the chance to see them live and it was glorious. These english boys were about my age and so talented, but without the rock star attitude. It was a great lesson, you can do it your way.

How has your record collection and appreciation for vinyl evolved over the years, and what has influenced your tastes?

I guess each decade had some great albums but it’s during the 80s that I bought most of my collection. Later came the CD, the Minidisc and the Internet and I changed my habits because it was more practical but I kept buying vinyl mostly on sale. 

The funny thing is that the limitations pushed me to buy older stuff and re-discover some classics. So in my case, I can say that less (money) is more (broader tastes). On occasion I can still buy some special edition but I try to do that directly from the artists.

Name the top three records you own that could describe you or your vibe.

OK, another surprising question, I like it… let’s try to be honest.

Bronski Beat’s ‘Small Town Boy’ - Because I really am one (even if the story told here doesn’t fit with mine).

This Mortal Coil’s ‘Song To A Siren’ - Because there’s something on it that brings tears to my eyes every time I hear it (and it can be embarrassing).

Liz Fraser’s voice is, as always, amazing but I also like Tim Buckley’s original version for its simplicity. And it also made me discover the poetry of Larry Beckett wich was supposedly the inspiration of the song. 

I love it when music is like some kind of treasure hunt. An ethereal english project leads to an american folk singer and finally makes you read american poetry about ancient Greece. That’s amazing and it’s how we should approach culture, never stop being curious.

Oh yes, there’s still the third one… 

Pink Floyd’s ‘Comfortably Numb’ (readers will really think I’m into drugs) - Because I can totally relate to this state where you’re floating between realities and aren’t sure if you want to get back. By the way, I forgot to mention that Floyd was also a great influence on my work. 

(I could develop but maybe another time)

But, again, that’s really just a part of the person I am. I may be creating creepy stuff and look depressed but I can also be funny and even kind on some occasions.

What’s the last record you played?

Cabaret Voltaire’s ‘Micro-Phonies’ is playing right now. Another great inspiration…

By the way, do you know that the original Cabaret Voltaire is located in Zurich, Switzerland ? It’s the birthplace of the Dada artistic movement and it’s still a cafe hosting exhibitions and conferences.

Do you plan on expanding your collection at any point?

Oh, absolutely, yes ! 

I may be an old fart but I still feel like I’m 16. 

So I will definitely keep on collecting records and other things I like and try to share them with people (even if that makes my loved one’s angry).

What does the future hold for aeon?

Well, 2025 was really the year of collabs and I still hope to release 2 more before the end of it.

One is a political satire, a more noisy oriented album with finnish artist Astral Zombie. The second is something I never tried, a dark synth pop EP with english artist SNS Sensation. He’s a big Pet Shop Boys fan and wrote great lyrics for the 2 songs we already have, so it’s exciting.

To be honest, there are two main things I want to achieve with this project…

First, going on stage to share my work with an audience and receive feedback.

And most of all (what a surprise), to release at least one of my piece on vinyl.

Pascal Brugger is an independent multi disciplinary creative (art director ?) from Fribourg, Switzerland. 

He’s an underground music enthusiast with a strong background rooted in experimental and post-punk genres and a passion for exploring the boundaries of acoustic and electronic textures. 

But above all, he’s the man behind ‘aeon’, a ‘bittersweet and sometimes dissonant’ electronic music project. With a punk attitude, he’s crafting sounds with minimal tools against the flood of disposable pop music.

Through the years ‘aeon’ has made multiple collaborations and released albums/EPs/Singles by itself or with little labels, that you can find here [ https://linktr.ee/aeon_music ].