We spoke with Swiss Pleasure about “2009” and more!

Hi! What motivated you three to come together in Berlin in 2021 and start Swiss Pleasure?

We all met in Berlin through the band. It started from a desire to play music with other people (and maybe also partially from having gone through the isolation of the pandemic restrictions). At the beginning we were only doing cover songs, including coming up with our own interpretations of hits from 80s and 90s hits. One day Claire brought in a bassline she had worked on at home, and from then on, we focused more on our own collective songwriting. 

Your debut EP, Heliotropia, was recorded at the Butterama Recording Center. What drew you to that particular studio and how did the atmosphere there shape the EP’s sound?

It was very important for us to find a space where we could feel at home and a recording engineer who made us feel comfortable, both as women and as musicians. In the music industry, it is sadly common to come across various forms of elitism and gate-keeping that go against creativity – especially towards people who exist outside of cis-heteronormativity / masculinity. At Butterama, working with Freddy Corrazini was special as we all felt we could be ourselves, goof around a bit, explore flashes of inspiration, make mistakes and be inspired. That, for example, prompted us to add keys and saxophone on some songs. The intro was also entirely conceptualised and created on our last day in the studio. 

The EP has a blend of influences, from dream pop to jazz. How did you navigate bringing these different styles together into a cohesive sound?

That is an interesting question. It just kind of happened organically, almost magically? One reason could be that we write our songs together. Of course each of us has control over their part, but all of us are open to all kinds of ideas, including silly or out-there ones, until we feel like we have reached our vision or the emotion we wanted to convey. All three of us have been music nerds since childhood, and we love a wide range of genres that inevitably find their way back into influencing our own music.

“2009” is a track that seems to balance angst and introspection. Can you walk us through the songwriting process behind this song?

The first part of the song is built upon an opposition between angst and urgency on the verses, and emptiness and control in the choruses. That represents the alternation of two states of mind, both being coping mechanisms for isolation. The second part of the song breaks this alternation and depicts the moment when one starts to feel instead of coping.

The music video for “2009” is both visually striking and intimate. What was the inspiration behind the tea party scenes and the imagery of isolation?

The lyrics to 2009 tell the story of a young adult on a summer break spent mostly alone at an age when their peers are living through many of their first, life-shaping experiences. The tea party portrays a person pretending to have guests, but it’s all her imagination, as younger kids might do with their dolls or stuffed animals. This was in part inspired by the lyrics, “It was 3am, I wished already / Not to be alone at my private party”. In contrast, the scenes for the choruses were shot outside in the dark, with people wearing masks, as the illusion of controlling your feelings by dismissing them through forms of contempt towards other people only hides the reality.

Recording with vintage instruments and mics gave Heliotropia a nostalgic feel. Was this an intentional choice to align with your influences?

It was probably intentional in the sense that these vintage instruments come from Butterama studio, and we fell in love with that space because of its character. The keys and saxophone, as well as some other effects were added and written on the spot, while we were recording. It’s hard not to be inspired to try out things like that when you’re in such a place full of vintage musical magic.

There’s a clear sense of vulnerability in your music. How do you create a space for that vulnerability in the band dynamic and your creative process?

We are very democratic and we care for each other. Our values align, and that is a core aspect of a functioning relationship. It has been important from the start to not involve our egos so much in our playing or songwriting, and rather to put all of our energy on listening and supporting each other. That naturally created a space where we can be who we are, and come as we are. The band, as an entity, behaves in this organic way that follows the ups and downs of the individuals. We didn’t invent anything in the end, this is just how “safe spaces” work!

Your live performances of “2009” are known for their intensity. How does playing live shape your relationship to your songs?

Playing live is all about the connection with the audience, right? Our songs all have a message that we want to convey, so we usually rework the songs until we feel like this was achieved and can be achieved again on stage. It’s still something we are learning to do as we play more live shows!

Finally, with Heliotropia out in August, what’s next for Swiss Pleasure? Are there new directions or collaborations you’re already excited about?

We released Heliotropia last year, and are about to release two new songs over the summer that we again recorded at Butterama. And then we will go back in to the studio before the end of this year, as there are still a few new songs that we would like to lay down. We are also very excited to play more shows in Europe!