NoiseTrade One-on-One

Interview with Amy Stroup

11029561_10152775847366028_3309348065774384423_nTo celebrate the release of a deluxe version/vinyl pressing of her 2014 album Tunnel, we talked with singer-songwriter Amy Stroup for our newest NoiseTrade One-on-One. During our chat, Stroup discusses the new bonus tracks on Tunnel Deluxe, the experience of hearing her songs on television, how being in a duo affects her solo work, and more!

NoiseTrade: You’re releasing a deluxe version of your 2014 album Tunnel with extra tracks and also pressing it on vinyl for the very first time. What can you tell us about these new tracks and finally having a vinyl version of the album?

Amy Stroup: Vinyl is my favorite way to listen to music and I’m excited to finally press my first ever release. The deluxe version of Tunnel is the original songs plus two remix versions of “Sabotage” and “Back Burner.” I got to collaborate a while back with Super Duper for producing the remix versions.

NT: Being that it’s been a couple of years since you first wrote the songs on Tunnel, have any of them changed, evolved, or taken on a different life since their initial inception?

Stroup: Definitely. When I’ve played them live we have taken creative liberty, but these versions are like the digital version that was previously released. Now they be heard at their highest quality on vinyl.

NT: How does being in the duo format of Sugar & The Hi-Lows impact your solo output?

Stroup: I think being in a band allows me to express a different side of myself. Sugar & The Hi-Lows songs are more like what you put on to dance to while you wash the dishes on Sunday night. My solo songs are a little bit more introspective and sonically completely different. Maybe they’re the songs you drive to on a long road trip. I love that I can create both types of songs and explore different sounds.

NT: As a songwriter that has a lot of television placements (This Is Us, Pretty Little Liars, Vampire Diaries), what is it like for you to hear your songs in that context and has the accompanying visual element ever taken a song’s meaning in a different direction for you?

Stroup: I remember as a kid seeing John Williams direct the Boston Pops and listening for his music in films growing up. I have never forgotten it and I’ve always loved the type of music that lends itself to soundtracks. I’ve always been drawn to score music and having songs in film and on shows is something I always hope I get to do, whether it’s an original song or something I get to write for a certain spot. It’s huge to have a song you create help someone else tell their stories.

NT: What inspired you to co-found Milkglass Creative and how does your creative work there fuel your musical creativity?

Stroup: Mary Hooper and I founded Milkglass Creative back in 2010 when I needed a little more help with my music and she needed a little more help with design. I think good art of all types inspires good art and that is how our company works. She helps me co-write and I help her art direct projects. The visual part of the record is just as important to us as the sonic part and we think music should look like it sounds to be truly believable. It’s been an honor to get to work with so many great artists on the visual side of their albums including Chris Stapleton, Ingrid Michaelson, Little Big Town, and Lori Mckenna, just to name a few.

When writer Will Hodge (@will_hodge) isn’t shaking it like Marvin Gaye, you can find him running off at the keyboard about music, concerts, and vinyl at My So-Called Soundtrack