If it feels like it's been forever since Butterfly Boucher's released a follow-up album to her acclaimed debut "Flutterby," it's because, well, it has been. OK, not really, but it's been six long years, and when you consider the singer/songwriter wrapped up the album ("Scary Fragile") back in January 2006, one would imagine "forever" pretty much hits the nail on the head.
"Oh me, oh my, it's a long and frustrating story," the Australian rocker (think PJ Harvey crossed with Imogen Heap) said in an exclusive interview earlier this month. To give you a Cliff Notes version of a three-year-plus mess, Boucher signed with A & M Records in 2003. "Flutterby" and an opening slot on Sarah McLachlan's "Afterglow" tour followed, but publicity didn't. Without a breakout first single, the record label shifted their focus, according to Boucher, on a follow-up album.
When she turned that record in January 2006, they didn't release it. The starts and stops continued: The UK affiliate (Polydor) showed interest in working with her, but she said they didn't like the album she turned in. When she recorded another one, they dug it but the original American label stepped in and told them they couldn't release it -- well, as Boucher recalled -- "unless they paid a huge chunk of money." They didn't.
When Polydor balked, Boucher negotiated to break free from her contract. That took about a year, and now - after all that - she's releasing "Scary Fragile" independently the way she wanted to back when George W.'s approval ratings were just moderately low. Anyway, soap opera over, let's get to the music.
What was the experience like working on the album and how did you come up with such an awesome album title?
Well, the first year of working on the album, before all the record label crap hit, it was great! I was very excited to be back working on a new album. I had fun working at home doing pre-production; writing new songs; trying new things staying up [until] 4 a.m. recording them. It was a great time. It was also nice to be home after being on the road for so long touring on the first album...then the three months working with David Kahne actually officially recording the album was cool. I [learned] so much from my time with David.
The title of the album came from the title of the song off the album which came from the lyric in that song which came from my brain one very late night in the north of England. I wrote that song on an unplugged electric guitar in the midst of getting over a relationship, feeling a little vulnerable and overwhelmed by the world and my own feelings.
Given your past with the record label, as an artist, what's more important a hit single or a critically acclaimed album? Be honest.
I feel like I just spent the last ten years barking up the "Hit Single" tree and I'm now totally exhausted and over it. Although a hit single would have been amazing, it's become clear to me over the last few years that it's not as important to me anymore. I want to make albums, good ones and bad ones! What's important is that I keep moving forward as an artist and when I die I'd like to be able to stand back and say I did as much as I possibly could and I am proud of the body of work I left behind. Honest answer: I would love to have a hit song, but I'm certainly not gonna waste anymore time trying to make it happen. If it happens it happens, if it doesn't I'm fine with that, too.
How big was the placement of "A Bitter Song" on Grey's Anatomy?
That was a wonderful break to get, hearing my songs on TV is always fun. Having "A Bitter Song' on Grey's Anatomy was also really encouraging. The fact that Alex Patsavas (Grey's Anatomy's music supervisor) chose a song from the album that the label had decided not to release confirmed for me that it wasn't that there was anything wrong with the songs or the album I made ... it was just that the record label were idiots!
How is the tour going thus far?
Very well. Thank you. Well, really I've been in L.A. for a month doing a residency at the Hotel Cafe, so I don't know if that really justifies as being called a tour. However I have done some out-of-town shows in that time. I just played Portland, Seattle and San Francisco. It's been so great to be able to play these new songs live, see them come live. I can't wait to be able to afford to take a small band out on the road with me, that's when it gets really fun.
Who do you get mistaken for the most? Imogen Heap?
I don't think anybody has ever said Imogen Heap before, that's a new one. Um, let's see ... lately (after my live shows) I've heard comparisons such as "Radiohead mixed with PJ Harvey" and "early Elvis Costello" and I'm cool with that.
Who wouldn't be with that? What do you make of the new crop of influential female songwriters?
I think it's great. I mean, as long as there is good music coming out I don't mind who's behind it: girls or boys ... but girls are pretty cool.
Getting back to music on TV (and film), soundtracks have been very good to you. How do you go about lending a song to a particular television show or film?
I've been very lucky to get some great song placements on the telly in the past. Most of them have come from music supervisors just being fans of my stuff, but some of it has been my management seeking out and submitting songs. Other times I've been approached to write something specifically for a film or a TV show. Over the last few years, TV has become a great outlet for artists like me who have had a hard time getting radio airplay. The exposure you get is amazing and people these days really do notice the music in shows and track you down on the internet, it's great.
Lastly, this is the Huffington Post, so care to make any political statements?
[Laughs] I wish I had something incredibly intelligent to say or comment about here, but I don't. Not right now off the top of my head anyway. As the middle child of 7 girls it has taken me years to realize that my opinion is worth being heard!