Can you talk to us more about your single ‘Golem’?
It’s the first single from my new album, ‘Straw Woman’. It’s quite a jangly, upbeat chap but the lyrics are about the transience of existence and the futility of self so some pedants have said the lyrics forge a slightly different mood to the track itself. I feel quite jangly and upbeat about the transience of existence and the futility of self, though, so I haven’t noticed.
Did any event in particular inspired you to write this song?
I had quite a jumble of thoughts when I was first writing ‘Golem’. I’d just finished reading The Amazing Adventures of Kavalier and Clay by Michael Chabon and rereading (broken, crumbling-book-spine rereading) Kurt Vonnegut’sSlaughterhouse 5, so much of that found its way into the first verse of the song. The golem of the title is the Golem of Prague, in whose coffin the protagonist of Kavalier and Clay is smuggled from the city. The novel – both novels, really – deals with escape, and the transformation and adaptation that such a process often entails. It helped me make more sense of the ideas I was haphazardly cramming into the song.
How was the film experience?
The video involved me ambling around several miles of beautiful Scottish scenery while holding a DSLR above my head, which seemed like a great idea until I started doing it; that’s when I realised how unfit I am. I’m overfed-family-pet unfit. I’m getting-a-stitch-at-the-top-of-the-stairs unfit. I’m Keith-Richards-lapping-me-in-a-race unfit. Needless to say, the day ended less energetically than it began.
The single comes off your new album Straw Woman – what’s the story behind the title?
Some people have spouses, some people have children, some people have incredibly fulfilling careers; I have a book of logical fallacies that I enjoy quoting whenever someone tries to engage me in a spurious argument. I’m just kidding; Iused to have a book of logical fallacies. The straw man argument is one of the easier and more annoying of these to point out when your companion is spitting an impassioned rant in your face. Calling the album Straw Woman is mostly just me trying to be clever and annoying, which is also all I really hope to be during most arguments.
How was the recording and writing process?
I love writing songs, so that part was the cathartic wee hobby it’s always been. Recording in the studio was new to me when I started the album, though, so I was a bit of a jabbering mess to begin with. Thankfully I had Stuart (MacLeod, who produced the album and is fairly integral to everything I do) to encourage and nurture and full-metal-jacket me through the whole experience, and we got there in the end.
Instruments like the Ukulele play a big role in some of the songs here – what led you to look for some unusual gears for this song?
The ukulele is like a guitar that’s perfectly built for my tiny child’s hands. That’s why I store them both together in the same crate.
Where did you find the inspiration for the songs and lyrics on this album?
One or two songs on the album are inspired purely by my own experiences, while many are helped along by whatever I was reading or listening to when I wrote them. Books aren’t safe in my possession when I’m writing a song; I’ll just suck all the goodness out of them and create some inferior piece of writing.
Any plans to hit the road?
It hasn’t done anything to me.
What else is happening next in Reverieme’s world?
I’m hoping to return to Sweden this summer to play a wee gig or two, which I was very fortunate to be able to do last year. Once the album comes out there will be various gigs, radio things and maybe some tv things in one format or another. I’ll also be doing lots of drawing, painting and writing to complete all the items we’ve sold in the Pledge campaign to support the album (oh, here it is: http://www.pledgemusic.com/projects/reverieme-new-album)