Battler (Emote) is out singer/songwriter Gregory Douglass’ seventh CD. The Vermont resident, who has made a name for himself through his well-received, independently released CDs and live performances (including numerous house concerts), takes listeners to some dark places on his latest disc. The songs on Battler touch on a variety of subjects including failed relationships, religion, revolution, thriving relationships and more. But it is the lush arrangements and Douglass’ comforting vocals that provide us with a safe place to absorb some of the shocks. I spoke with Douglass shortly before the March 2009 release of Battler.

Gay & Lesbian Times: Something that’s very interesting about you and your musical career is that you are doing it all from Vermont. It’s your home and it’s where your creative process takes place. Do you find much of a supportive music community where you are?

Gregory Douglass: Yeah, definitely. It’s funny, I always tend to fall in love with towns just like Burlington. Small towns that have a little bit of everything. It’s definitely small enough that you know people when you walk down the street or whatever that there’s never a shortage of good places to eat and there’s always a lot of music happening. It’s a lot like Austin, Texas, actually.

GLT: But a lot colder.

GD: Only a lot colder, exactly (laughs). I was born and grew up in rural Vermont. I went to a boarding high school and decided to pursue music early and not necessarily go right to college. I figured I’d move to Burlington to get a jump start, and it’s been very supportive. The more I travel the more I feel compelled to just stay here. Like I said, it’s kind of the best of all worlds. It’s a lot more affordable than a place like New York. I really get to enjoy the benefits of traveling and what different cities bring to the table, but then come back to my cozy little sort of bubble (laughs).

GLT: Vermont was one of the first states to legalize same-sex marriage, so it seems to be a very liberal place. Do you find a supportive GLBT community as well?

GD: It’s definitely very visible here. Although, ironically the only gay bar in the state closed down a few years ago, and there really hasn’t been one to replace it yet. Not that it all boils down to the gay bars, but I think the community has just…everyone just goes out everywhere now. There are always events happening. It’s a very visible and supportive community here.

GLT: Battler, your new album is a fan-financed release, which is an interesting trend. Does doing such a project make you feel more pressure, more responsibility than you would if it was being released through a major label?

GD: I’ve never really been in a place to compare it. But I don’t really feel pressure. It’s more of giving people an opportunity to be a part of the whole process and feeling some sort of ownership. That they’ve helped you get the whole thing rolling.

GLT: Do you think that it will become a more common trend?

GD: I kind of hope so. I’ve been taking pre-orders for albums for the last three albums that I’ve released. It always amazes me how willing people are to help when you ask for it and put it out on the table. I need your help and here’s why – you’re really allowing me to do this because I’m totally independent and self-sufficient. I’m doing this for the love of it, and I don’t necessarily make much money. This is really helping to keep the music constantly released.

GLT: With seven albums to your name, how would you say that you’ve changed as a songwriter, a musician and a performer?

GD: That’s a good question. I’ve definitely been immersed in the business. You have no choice when you’re independent and you have to get as good if not better at the business as the music in order to keep it going full time. I’ve definitely learned a lot. It continues to be humbling. I feel my goals have changed a lot. I have a lot more appreciation for things than perhaps I used to. It’s easy to fall into the naïve dream of getting a record deal and becoming an instant hotshot and feeling really deserving of that for not having to work for it. That whole “American Idol” – I feel like that perpetuates a very misleading (laughs)…if people had any idea how hard people in my shoes work to just sustain. With that said, I feel like reaching out to the fans to pre-order and doing house concerts really keeps it a lot more personal and rewarding and engaging.

GLT: Do you get the sense that people are grateful for the intimacy and contact with you as a performer at house concerts?

GD: Absolutely! It’s such a win-win situation. I think that it has so much more of an impact on people when they get to see such an intimate performance. They’ve become some of my [favorite] shows to do. It always translates the same way. You’re in somebody’s living room. People are so attentive. The back-and-forth banter with people – you feel like you have a whole new group of friends by the end. The type of music that I do certainly demands a listening audience. It’s not background music at a bar. It really translates better at something like a house concert.

GLT: In addition to house concerts, you are doing a series of tour dates at coffee houses, including some with Stewart Lewis who is under the here!TV banner. Do you consider them to be effective outlets for you?

GD: Logo’s been very helpful and supportive. I think that’s been one of the key exposure tools the past few years. I’ve had two videos on there the past couple of years. They’ve played them quite a bit and people voted to keep them on. That’s been a huge help. I’ve played a lot of Pride festivals thanks to Logo as well. It’s definitely helped put my name on the GLBT radar, the gaydar, if you will (laughs).

GLT: You also recently appeared on the Feast of Fools podcast. Do you think an independent queer musician has a better opportunity to have his music heard going that route than trying to get radio play?

GD: That’s probably safe to assume at this point. I feel like radio is a very questionable thing these days (laughs), especially for independent artists. The stations that are still holding strong are more like Clear Channel and major label stations, so I definitely think there is a lot more pull in the podcast world than at typical radio outlets.

GLT: How would you describe your songwriting process for your new album Battler?

GD: I had a pretty rock-bottom winter, and I decided to dive right in. A lot of people had been telling me that I needed to see the HBO series “Six Feet Under,” and I hadn’t seen it. Some people even told me that they could “hear” my music in the soundtrack. I rented the whole series and watched the whole thing, and it really had an impact on me. That definitely filtered into a lot of the writing. And I could also relate to a lot of what happened on the show; interesting realizations and conversations. I did a lot of writing in the dead of winter.

GLT: Have you been approached for the use of any of your songs in movies or TV series?

GD: No, I haven’t. But I would love to look more into that. I know that’s kind of the hot button right now. I think a lot of people are seeking out potential placement and things like that. I’m trying to look more into that, but nothing’s really panned out.

GLT: “No Apology” has a layered a cappella, reminiscent of recent Imogen Heap. Is she someone that you might consider to be an influence?

GD: Absolutely. I sort of ruthlessly did that song. I thought people are either going to love the song or hate it. Regardless, it’s definitely going to be compared a lot to “Hide and Seek.” I did it anyway. I want my own “Hide and Seek.” That’s literally what I thought when I wrote that song (laughs). I confess. I had no shame with doing that.

GLT: We’re glad to be your confessor. On the disc, there’s also the addition of female vocals by Anais Mitchell on “Sadly” and Grace Potter on “Ordinary Man.” How did you go about making those happen?

GD: They’re both fellow Vermonters. We all have sort of been on the local radar. I’ve played with both of them in the past. In fact (laughs), once upon a time, Grace Potter opened for me (laughs)! Not so much the case anymore. We all, more or less, grew up together in the local music scene.