New York City native, half-japanese, Lisa Remar has always loved music. Her passion for song-writing, producing and singing lives in her songs.
Characterized by her soulful vocals and her unique sonic sensibility - Lisa's music takes the listener to a familiar place they've never been before.
Moments of playfulness transition into epic scores and vice versa. Boom Bap inspired rhythms appear unexpectedly and coast over her silky voice.
Lisa's psychedelic soundscape threads through most of her tracks and revels in tinges of melancholia.
Similar to her music, Lisa's style also draws influence from various backgrounds, and is representative of her biracial heritage.
There's something exciting about the music Lisa is making. It almost feels like listening to Fiona Apple or Lana Del Rey for the first time. A shock to the system - a refined rawness.
About Fell Into:
"I wanted this song to be a little more empowering through the production, an ode to Boom Bap. It was written when I started exploring my sexuality," says Lisa. "I consider myself bi. I was going to meet up with this girl I had been talking to through Instagram, but dating was intimidating for me. I'd been hurt and didn't know how to carry myself. I should've just been myself. I was so afraid, but it was exhilarating. Still, it was a very awkward date. She rejected me because of her ex or something and I felt pretty stupid. She ghosted me, so I wrote about deceptive people who only care about themselves."
Question: How would you describe your music?
Lisa Remar: When people ask me this question in person and I'm feeling lazy I usually just say it's sad girl music and leave it up to them to decide but I realized the other day that I actually felt really happy while writing these songs, they just happen to be about experiences that evoke melancholia I suppose. So I actually don't know but I've been told it's nice to listen to whilst driving alone with no traffic.
Question: Can you tell us about Fell Into?
Lisa Remar: Yes! I'm so surprised that Fell Into seems to be the song that people are most excited about on the record. Griffin Emerson and I wrote the instrumental, a few lyrics and the entire top-line in a couple of hours and I carried it around for a while and waited for a stroke of inspiration. Lo and behold I received, personally, the most unnecessarily dramatic romantic rejection shortly after my session with Griffin. The overwhelming sense of pettiness I felt served as source material for finishing the lyrics and completing the song.
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