Trope own Diana Studenberg
Interview conducted on June 08, 2020
By Dan Locke
Trope is an alternative prog/rock band located in Hollywood, LA. Formed in 2016, the band have been perfecting their sound and songwriting, leading to their highly anticipated debut album Eleutheromania. Combining hypnotic rhythms with dark, progressive elements, singer Diana Studenberg gives the band their recognizable sound with her delicate-to-angst vocals which cascade dramatically atop their dynamic melodies.
What is your upbringing?
Diana Studenberg: My father is of Polish, German and Belgic descent but was raised in Montevideo, Uruguay and my mother are Spanish Moroccan from Tangiers, and I was raised in Canada.
How did you start to write music?
I actually started writing poetry first when I was 12. I used to read incessantly, anything from Shakespeare to Emily & Charlotte Brontë, Dostoevsky, Anne Rice, Mark Twain, a bunch of philosophy… and it inspired poems. And then from music being such a big part of my childhood and teenage years, by the time I was 14 I started inventing melodies to these poems. The first ‘song’ I ever wrote was actually a response to the mourning of my grandmother’s passing.
Diana- What was the first Trope song you helped create?
It was ‘Lambs’… Lambs were the very first. Trope’s guitar player/producer Moonhead showed me the instrumental he wrote for Lambs and I got to work on lyrics and melodies.
Diana- Do you remember how you got your first guitar?
Yes! I got my first guitar when I was 16 because I signed up for a class in Cegep (pre-university in Montreal). It was a Jasmine Takamine, and I got it at this store called Italmelodie.
And do you still have it?
I don’t! I tried to hang onto it for as long as I could but had to sell it a while back to pay them bills.
You have shared the stage with the likes of Switchfoot and Sevendust. And a long list of comedians. While sharing the stage with these people, did they share with you any secrets of handling fame that you would like to share with our readers?
Hah, not sure they have! But that said… Iliza Shlesinger was really cool and came up to us and said we did great.
Bryan Callen was also extremely supportive and friendly. He mentioned something really great, along the lines that before each show, he had no pre-ordained idea of how the performance would go.
Another one of the comedians in a one-on-one (not sure if I could mention who in this case) said ‘Stress and fear are choices. They aren’t real. There are angels among us.’ That honestly caught me off guard because of how deeply he meant that.
Really though, my main takeaway to your question was actually in what was left unsaid. The comedians we interacted with showed a grace, kindness and down-to-earthiness. Showed that you don’t need to change your core essence or values in the face of success.
I have really fond memories of our times at the Improv both on and offstage. It was so fun getting to perform and then watch these incredible comedians take the stage.
Let’s talk about your debut album “Eleutheromania” How did you get that title?
Moonhead came up with the title Eleutheromania – which means a manic zeal for freedom’. And is pronounced – <A-LOOTHRO-MANIA>. It tends to stump people on the first read, but you get used to it. The album title takes on different meanings for both of us. I think for Moonhead music is where he finds freedom. To me the title really reflected a lot of the themes in the lyrics… having walked through different cages in my childhood and adult life, freeing oneself from the environment and from our own nature/nurture prototypes was crucial. The more aware I became of how I perpetuated this pattern of being trapped, that I grew up deeply indoctrinated with, the more air I needed and choked/stifled I realized I was. I like using different metaphors for this and touch on different themes. Since in a way, the theme of freedom is so broad and expansive. I think so many people crave more ‘leash’. To connect more with who they are. And obviously what that looks like for each person and their experiences with that are so so different.
Why did you record “Shout” a song made famous by Tears for Fears? Do you remember the first time you heard the song by Tears for Fears?
We love Tears for Fears… they’re such incredible songwriters that write music that feels so timeless in its message and still relevant. ‘Shout’ resonated because it felt like an anthem to free ourselves of negativity and the naysayers. It felt very in line with our themes on the album, and we just love the song so much. The musical connection to this song was what inspired the cover.
What is your favorite track on the album?
That’s a tough one, I love Pareidolia because of how not straightforward it is musically, time signature-wise or structurally, and yet how deceptively straightforward it sounds. I’m really proud of how the message and melody connect to the instrumental, the whole song feels like a freight train coming at you at 100 mph.
Also, a big fan of Hyperextend and Surrogate… I like the grooves and the lyrics to those ones very much.
Diana- Heavy Mag put you and the band on their list of Top 40 Female Rock Acts. Which included people like Lizzy Hale, Lacuna Coil, Jinjer, and The Runaways. That is a great honor for a new band. Why do you think that happens?
Carl Neumann from Heavy Mag really championed our debut single ‘Lambs’ and was extremely supportive in sharing it. It was a huge honour and especially considering that I grew up loving a lot of those bands when I was a teenager, so for Trope to be on the same list was really special. It felt amazing and like a bit of a milestone to be recognized amid our peers. Thanks again Carl :).
Diana- You co-wrote the song “I Choose” which is performed by Alessia Cara for a new Netflix’s animation feature “The Willoughby”. How long have you been writing music?
I’ve been writing ever since I was 14, and one of the things I love most about it, aside from my need to express ideas and feelings, is collaborating with other writers. And in this case, that was such a great experience. I started riffing on the characters’ voice and musical ideas early days in the recording booth with Kris [Pearn] the director, and when I moved to LA he called me and asked if I could work on the song with Mark Mothersbaugh, who I was already a fan of via Devo. Working with him was wonderful and his engineer Ethan Obbema was extremely collaborative and as were the writers at Format Entertainment. Everyone worked so hard on the song and Alessia brought it to a life where now it’s reached an audience that’s really connecting to it emotionally via the movie and to her as a solo artist, and it’s just been both amazing to watch and to have been a part of with so many really talented writers/musicians.
What are your feelings about streaming music?
Trope
I have several feelings… and they fluctuate. On the one hand, I love the tactile feeling of CDs or Vinyl or cassettes. I grew up in the 90s where music was a physical experience. I’d buy the album, lie belly down on the floor of my room and listen to each song, following along with the lyrics. I’d look at all the artwork. And having access to the multiple expressions of art made me feel more connected to it.
I find that the same appreciation is a bit trickier for me digitally. Music is still music… but our value via it all being available at the click of a mouse or tap of a finger has (clearly) depreciated it. I think artists not getting fair pay on some of these platforms depreciate it too. It doesn’t depreciate the music itself – it depreciates our perception of value for it if that makes sense.
I think on the other hand, it’s so incredible to be able to pull up a Nina Simone song when I need to hear her. It’s amazing to pull up a Jeff Buckley song. And wherever I go, there they may be. That I find really cool… and really emotionally helpful.
Digital vs. vinyl?
Vinyl! I love the tone, the more analog sound you get and harmonics. I love how when listening to songs on vinyl the music itself feels tactile. It feels like it’s with you in the room, as its own entity. I find it harder to ignore music played on vinyl, so for these reasons, it seldom can register as just ‘background music’.
What song from the past is in your mind right now? And what is the meaning that song means to you?
It’s funny I was watching The Graduate the other day and Simon and Garfunkel’s version of ‘Scarborough Fair’ started playing… and brought with it so much nostalgia. It reminded of how beautiful their rendition is, and ethereal/perfect their harmonies are… and also reminded me of a dear friend who’s no longer with us. Megan… I used to play in a band with her, and we played that song together. I think this is one of those songs where the music means more to me than the lyrics, I just love how absolutely beautiful and mystical this song feels and also the memories it brings up.
First it was an article in the New York Times, then Rolling Stones talked about it and finally Live Nation CEO said that concerts may not start again until fall of 2021. Do you think this could happen?
I do but like everyone else, I really don’t know what’s going to happen. Things seem to change on a daily… and what seemed like would be a much longer wait for things to re-open, especially restaurants, seems to be happening already.
We’re, in theory, meant to tour in the UK in September, but again given the state of the world, we have no idea if it’ll happen, and if systems will be in place by that point to make venues a bit safer.
How do you see yourself in the next five years?
Playing music, playing live shows non-stop, and in the breaks acting in films and television shows.
Anything you would like to say in closing?
I’d like to thank you so much for this interview and for sharing our music. Thanks for taking the time to ask such thoughtful and specific-to-us-and-our-band questions. I really appreciate it and your time xo
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