Reverieme is the alter ego of Scottish singer/songwriter Louise Connell, who released the absolutely genius Straw Woman last year. With her quirky, refreshing and thoughtful folk with a pop twist, Reverieme is destined to be your next favourite artist. As she teases a return to the scene with the more expansive sound of 'Ten Feet Tall', we decided to catch up with her to find out what has changed in the year since we last crossed paths.
MG: Straw Woman is now a year old. What have you been up to since?
LC: No shenanigans with capybaras, that’s for sure. Oh, you meant musically! Well, I’ve been writing to stay sane, as always, and I’ve managed to compile enough tunes for one or two new releases. I’ve also been out and about all over the place singing at people and trying to work my new guitar.
MG: One thing we know you've done is record a new single. Tell us about it...
LC: My new single is called ‘Ten Feet Tall’ and it’s all about the terror of younger relatives growing up too quickly and making you feel geriatric and obsolete and scrotal. It doesn’t sound like it’s about that, it sounds like a lullaby about the wonder of children forging a path in the world as they grow older, but I promise it’s harrowing.
MG: Are whispers of more new material true?
LC: They are! You must know very coherent whisperers. Whenever someone tries to whisper to me, and it isn’t often, I usually assume they’re impersonating what they think it would sound like to boil a rattlesnake in a kettle. I realise now that wasn’t the pertinent part of the question. Let me try again. We’re currently recording and compiling all of the new songs I’ve written in order to decide on a release format that suits them best.
MG: What was the biggest lesson you learnt from the creation of 'Straw Woman'?
LC: I loved being involved with the production of ‘Straw Woman’, but I was a little timid at first. I’d like to think I won’t have any reservations when we work on the next record. That’s why there’ll be kazoo on every track!
MG: And what was the best and worst feedback you received?
LC: ‘Straw Woman’ was a mix of reasonably short pop tunes and longer atmospheric tracks, and many people had a favourite team out of the
two. It’s a fairly inoffensive album, so it didn’t attract a great deal of controversy, but there was some disagreement over which style people preferred. I mean, that’s what they spray painted on my front door when they came with the pitchforks.
MG: All artists receive comparisons to others - who do you enjoy being compared to?
LC: I don’t have particular artists to whom I like to be compared, but I’ll always have a soft spot for someone who doesn’t immediately compare me to the first female singer-songwriter that comes to mind. It would never offend me, of course (though do ignore that fist-shaped hole in the wall), and sometimes those comparisons are spot-on, but if it’s coming from a journalist then I can’t help but find it lazy.
MG: What is the strangest comparison you have ever heard?
LC: Being compared to early Genesis at a recent gig was definitely a new one. I’m not mad about it.
MG: If you could collaborate with one artist over the next 12 months, who would it be?
LC: Peter Gabriel, of course...
MG: Are there any other achievements you hope to tick off your list in the same time period?
LC: As well as the musical business, I’d love to complete a few more music videos. I have lots of strange (cockroaches-on-the-face strange) ideas to film.
MG: Lastly, 'Straw Woman' was Pledge funded. As an independent artist, how useful are interactive platforms for you to reach your artistic potential?
LC: Pledge, in conjunction with Help Musicians, was a huge help to us. As an independent artist, any money you make from sales is really only there to help you break even, which can be tricky when you’re at the beginning of a project. Platforms like Pledge, as well as other sites I use, like Bandcamp, are able to provide a space in which individuals who love new music can support artists and catalyse their work. It can be tricky to infer gratitude in my glib wee remarks sometimes, but I am truly thankful to anyone who’s spent real actual money on my music.