ME&LP

INDIE MAG'S ICON Feature: Lisa Papineau of Me & LP

Tue, 14 Aug 2012 12:43:00 -0400

Lisa Papineau solo artist and the singer in both Big Sir and Me & LP Is the Indie Icon feature in the July / August issue of Indie Mag. You can download the full magazine for FREE or buy in Print HERE

Lisa Papineau Contributes to SONG 1 - Doug Aitken's Installment at Hirshhorn Museum - Washington DC

Tue, 03 Apr 2012 13:45:01 -0400

Lisa Papineau of Big Sir and Me & LP is one of the many voices and performers who make up the Doug Aitken SONG 1 multimedia installment opening March 22 at the Smithsonian Hirshhorn Museum. According to Hirshhorn deputy director and chief curator Kerry Brougher, “SONG 1” toys with the concept of “liquid architecture”—a constant shifting that transforms museum architect Gordon Bunshaft’s heavy, cement mass into a light, ethereal work of art. The public installation is designed to challenge the boundaries of architecture and redefine the concepts of cinematic and urban space.
Read More at Washington Post
Read More at Design Boom

PREFIX Track Premiere: "The Kindest Hour" by Big Sir

Wed, 01 Feb 2012 13:41:00 -0500

“The Kindest Hour” will appear right at the halfway mark on Big Sir’s upcoming 11-track album, Before Gardens After Gardens, which makes me think it could be an important transitional song. Singer/composer Lisa Papineau (ME & LP, Air, M83) and bassist/composer Juan Alderete (The Mars Volta, Racer X) create this pretty, eerie (also pretty eerie) tune with help from Heather Lockie and her moody viola playing, which is contrasted by Alderete’s smooth, clean bass. Also featuring Cedric Bixler Zavala (The Mars Volta) on drums and Matthew Embree (RX Bandits) on guest vocals.

Although subdued, Papineau’s melodic singing is of major note here, as it adds dimension to her partner’s muscle and, overall, fills out the otherwise sparse music. The voice and the instrument meet up here and there, eventually creating a watershed of sound that boils over as if you turned the stove off a second too late. The result is something like a cathartic overflow of warmth—thanks, in part, to the blanketing organ—ultimately faced with an icy wash of male-female vocals. “Hour,” which you can stream below, is a compelling audio embodiment of feelings that could be as strongly expressed visually as they are here. Big Sir’s Before Gardens After Gardens will be available Feb. 7 on Rodriguez Lopez Productions/Sargent House.

COS: Big Sir New Album Song Premiere "Ready On The Line"

Tue, 20 Dec 2011 13:59:00 -0500

Big Sir, the Los Angeles-based project of vocalist Lisa Papineau (ME & LP, M83, Air) and The Mars Volta bassist Juan Alderete, will release their third album, Before Gardens After Gardens, in February. The two composers’ articulate, electronic-tinged blend of R&B, jazz, and hip-hop falls somewhere between Papineau’s acoustic solo work and Alderete’s forays into prog-rock as part of The Mars Volta.

Before Gardens After Gardens’ first single “Ready on the Line” spikes Papineau’s exquisitely harmonized Bjorkian voice with whistles, chimes, and mechanical claps. The subtle background heartbeats, reminiscent of Timbaland’s early work with Aaliyah, anchor the buoyant track, which otherwise threatens to float away on Papineau’s upper range, especially when she screams, “Get so high!” Stream it or download it below.

Big Sir – “Ready on the Line”

Before Gardens After Gardens is out February 7th on Rodriguez Lopez Productions / Sargent House. The album also features contributions by The Mars Volta’s Cedric Bixler-Zavala, RX Bandits’ Matthew Embree, bassist Jonathan Hischke, and Beastie Boys producer “Money” Mark Ramos-Nishita.

Quatro Live From the Troubadour

Mon, 21 Nov 2011 16:49:11 -0500

Quatro, Live from the Troubadour - November 19, 2011

Bonnie Says Live From the Troubadour w/ help from Good Old War

Mon, 21 Nov 2011 16:41:00 -0500

This show was so much fun! Here is a video of the last song Me & LP played called “Bonnie Says” with a little help from our friends Good Old War at their Sold Out Troubadour show in Los Angeles on November 19, 2011.

ME & LP will join Good Old War on West Coast Tour Dates

Fri, 16 Sep 2011 13:23:00 -0400

We are delighted to announce that ME & LP will be joining friends and label mates Good Old War on all their headlining West Coast shows. Make sure to get tickets in advance and always check with the venues for exact start times.

GOOD OLD WAR / ME&LP
16 Nov – San Diego, CA @ Anthology
17 Nov – San Luis Obispo, CA @ Downtown Brew
18 Nov – San Francisco, CA @ Bottom of the Hill
19 Nov – Los Angeles, CA @ Troubadour

ME & LP Playing With Zechs Marquise

Mon, 12 Sep 2011 16:34:00 -0400

ME & LP will be joining Zechs Marquise at the end of this month for a few shows.

ME & LP w. Zechs Marquise
09/25 - @ Mesa, AZ - The Underground
09/27 - @ San Diego, CA - The Casbah

Flab Mag: Interview with Matthew Embree about ME&LP

Tue, 30 Aug 2011 14:11:16 -0400

Chez Raymond, an EP by ME&LP of six disparate but complimentary songs crafted by Matthew Embree (RX Bandits) and Lisa Papineau (Big Sir), is a sentimental homage to the joys of collaboration and musical experimentation. The styles veer from lilting Flamenco on the EP opener Quatro to rolling country-folk on EP closer – a tune Embree calls “a joke” (it’s not) – Right On Down the Line with some pseudo Afro-pop and indie balladeering in between. Understand, there are no false notes to be found anywhere on this EP. This is owed in part to Lisa Papineau’s vast body of work traversing many genres and her obvious skill at creating compelling vocal instrumentations. Add to the mix the soulful voice of Matt Embree and you have a satisfying first beginning to what I hope is a long-term project.

I sat down with Matthew Embree for a brief Q&A when RX Bandits played in Sacramento on the farewell tour. I had no idea who he was or that he is very much loved and his band is popular with the kids. But I had listened to Chez Raymond at least 100 times by then so this interview is about that project.

FLABmag: I heard you met Lisa at an art opening and immediately knew you had to collaborate with her, but what was the context? Did you hear her sing or did you shake hands and it was an immediate connection?

Matthew Embree: No, I heard her sing first in the band Big Sir with Juan (Aldrete) from The Mars Volta and I thought she was just amazing and is obviously incredibly talented. Her voice just struck me, you know?

FLABmag: Have you heard her solo album, Red Trees?

ME: Yes! I listen to it all the time to this day. But, yeah, she came over to my house once and we recorded. And what was really weird was that I had just set up a bunch of stuff and she started fiddling with some pedals on her vocals and I like to fiddle with stuff too, so we just kinda made a bunch of different stuff. I made a guitar loop pedal, but for a lot of it I used my mouth. Actually on almost all of the songs I used my mouth or me tapping on something, just layering over and over and over.

FLABmag: It does have a very organic sound.

ME: Yeah it does. But, anyway, we did that show, Sonny’s art show, and it was all fucking L.A. “hip scene,” with Devendra Barnhardt, and all those heads were there, and it was just kind of intimidating, I guess, a little bit, in a way, but I don’t really let them intimidate me. I guess it’s the way people act around them, you know?

FLABmag: So you and Lisa performed together for the first time that night?

ME: Yeah. She was bummed, I was bummed but we (together) were having a great time, but it was just this weird hipster strange scene, but it was cool for us because she and I just retreated into our little shell and made music. After that I made it clear to her that I really loved jamming with her. Actually the first time we jammed together was really ridiculous! It’s the last song on the record.

FLABmag: It’s so cute – very folky/country.

ME: Thank you. It’s kind of a joke, but she’s such a great singer that she kinda made it happen. Then she was like, “Now you gotta sing!” She was pointing to me off mic, and I started laughing. I was like “Ahh shit…” So I just made up some silly country lyrics. But, anyway, I made it clear to here that I wanted to work with her some more and she made it clear to me that she was down. But she mostly lives in Paris and went back there not long after that art show and that was the only time we had performed together.

Then RX was doing a European tour and on most of these tours I usually stay after and the band goes home. I go wandering with my backpack, my little high school Jansport. I’ve been through South America, Central America, and Europe multiple times. I like to wander. But anyway, I figure the band’s paying my ticket to go here so I may as well. So this time I asked her if she was going to be over there and she was so I got my ticket to return a few months after the band’s. Our last show was in Amsterdam and I took a train down and met her in Paris. There we recorded one song, Truth be Told, in her apartment, which sounds amazing. It was really cool sleeping in there…they had this spare room above a sports bar, which is not the same as an American sports bar, except for when they get drunk and rowdy. But, to me French is so soothing; I can easily fall asleep even if they’re yelling. We’d also walk around for hours everyday. She really loves to walk.

FLABmag: So you guys would take long city hikes, huh?

ME: Oh yeah, all the time. We’d walk all over and she’d show me parts of the city I’d never been to and we’d go wandering around and listen to these musicians jammin’. We’d usually end up at some cool little bar and sit outside and talk about stuff. Actually I was going through a pretty rough time in my life at that point and she’s a great listener.

FLABmag: Oh? Were the songs based off these discussions?

ME: Oh no. They were just random. Well here’s what happened, one of her collaborators, who also play on her album Red Trees, Mathieu Boogaerts, his uncle Raymond passed away, and initially we weren’t going to go out to his house – because he had just passed away, but they asked us if we would go out there and house sit. And it is the place where she recorded Red Trees, actually it’s where she records a lot of her stuff. So she asked me if I wanted to go because all we had to do was watch the dogs and cats. It’s a really beautiful place, and you know, cats basically watch themselves, so…we had a pack of dogs too. She brought hers as well. So there were six dogs altogether running around this old ranch house that’s six hundred years old in the middle of this old Roman zone, and, it was…it was just a really beautiful experience where we recorded in this old room in the middle of fields of rye and grape seed and wheat – just fields as far as the eye could see, and the only thing I could equate it to is the ocean because when the wind blew it looked like waves undulating. It was just beautiful. But anyway it was this little room that was made by Mathieu’s grandfather, who was also named Raymond like his uncle. He was a professional jazz piano player – the most famous in France. He had Miles Davis, John Coltrane, all these cats over in this little room where his piano is still in the same spot! I actually play it on the record. But, basically, we had no ideas for songs. I had some loops but we ended up throwing them all out. She wrote most of the lyrics. Well on the songs that she sings, she wrote the lyrics and of the two that I sing on, I wrote them.

FLABmag: Your voices are very complimentary and possess a beautiful symmetry. Was this something you both realized right away which encouraged you to work together?

ME: Thank you but no it wasn’t that so much. Just that I had to work with her again. You know the whole thing was very under produced. We recorded with one mic and she’d play engineer while I was recording and vice versa. She’s so hyper sensitive…so…critical of herself.

FLABmag: She’s a perfectionist?

ME: Yeah, she’d get so angry with herself if she felt she did something wrong or that wasn’t working and I’d tell her not to worry about it so much. But, yeah, we did the majority of recoding there in France and then did some finishing vocals back in the states at her home in Highland Park. We finished the vocals for Bonnie Says – No Shitty Ride…

FLABmag: …which is the most pop influenced song on the record. Can you tell us how that song was developed?

ME: That beat was done with just my mouth and a microphone. I was beat boxing and then ran it through pedals later. I also used a shaker. Then I recorded the other instruments and ran them through the loop – lots of percussion on that tune.

FLABmag: Altogether it’s a surprisingly sweet and phenomenally beautiful little EP. I was trying to come come with some comparison to other styles or musicians but couldn’t really come up with anything and really don’t want to either. To my ears it’s unique and filled with unexpected twists and style changes, and again, you are so complimentary to each other.

ME: You know, everything is derivative, everything is, nothing is entirely unique but there are some (musicians) who set out to make a particular style of music, to emulate it, but we never did that. Well, maybe the closest thing was when I made that beat for No Shitty Ride I was thinking of Fela Kuti in a way but it didn’t turn out anything like Afro Beat! (laughs)

FLABmag: No, it’s definitely got a hip-hop vibe.

ME: You know that song was a lot longer but we cut it down. There was this extended part with Mathieu jamming on the organ and me on drums but it just got too long so we cut it. Actually Lisa says that we’re “Demo Chasers.” (laughs) We always like the first version – the rawness of it, even if the vocals aren’t right! But thankfully she’s an accomplished musician, and older and wiser than I, so she was able to structure it in a way that worked. She always said we had to commit to making it “better than good” if we were going to release it to the world.

FLABmag: It’s good you found each other then…for my last question I wanted to talk about the video for Belle Tocade, and rather than giving you my impressions…

ME: Wait, why don’t you?

FLABmag: Because I don’t want to influence your answer…what was the inspiration behind it?

ME: Inspiration?! We didn’t have one! We had no budget and our friend Joe, who’s this skate photographer, shot the video. So we did it in a day and a half. Lisa knows this lady who has a bunch of costumes so we got some and decided to just be weird. We got weird with costumes.

FLABmag: Hmm o.k. because some of the scenes seem rather deliberate homages to certain foreign films…especially the one of the beach. The lighting and…

ME: Which films?

FLABmag: Well I was reminded of the ending scene of Fellini’s 8 ^1/2 - have you seen it?

ME: I have no idea who that is…is that good or bad?
ME: Nope, sorry.

FLABmag: (Laughing) No it’s good! Well I guess it definitely was not homage to Fellini!

Download or stream ME & LP HERE.

See images from the RX Bandits show in Sacramento.

fun with gifs.

Fri, 19 Aug 2011 12:29:56 -0400

Thanks for the gif @JulieGuidi

Tyler Bates brings in Lisa Papineau for vocals the Result = SUPER

Tue, 16 Aug 2011 13:26:44 -0400

Tyler Bates composed the score to the James Gunn film called Super - Lisa Papineau (Me&LP, Big Sir) provided the vocals on the track in this teaser starring Liv Tyler and Rainn Wilson. Check out “Two Perfect Moments” above.

COS Reviews: ME&LP "Chez Raymond"

Mon, 15 Aug 2011 13:30:06 -0400

ME & LP is a pretty straightforward name for a band, considering the members’ names are Matthew Embree and Lisa Papineau. Taking into consideration the duo’s respective backgrounds, Rx Bandits and Big Sir (with work on Air and M83 records as well), though, the situation becomes a little less direct. What kind of sound could be expected from mixing a member of The Sound of Animals Fighting and an ethereal vocalist/film scorer? Minimalist, restrained, and mellow probably were not the first words to come to mind, but that’s what the delightful Chez Raymond EP gives us, and as it progresses through its six tracks, it proves to be the gift that keeps on giving.

The breathy phrasing and delicate dual vocals of the first half of Chez Raymond recall the delivery style of the xx. Opener “Quatro” epitomizes this, teasing with quick guitar work, but remains stalled and distant. It’s a pleasant enough sound, but knowing the artists’ histories, it seems as if they are keeping a secret. Embree and Papineau give in and add heart later, though, each taking turns on lead. Embree’s performance on EP standout “(Bonnie Says) No Shitty Ride” is particularly (read: surprisingly) soulful. The combination of the sprightly guitar, hand claps, and cooing background vocals alongside Embree’s wailing is a refreshing break from the detached feel of the previous tracks.

Though Chez Raymond relies heavily on acoustic guitar, the eventual incorporation of sultry bass lines, occasional keys, and everything from finger snaps to infrequent, lively percussion prevents the EP from being monotonous and the odd bedfellows’ project from being uninteresting. “La Belle Tocade” presents an understated, complex soundscape that toys with organs, pattering drums, and reverb all toiling below the surface of Papineau’s surreally high vocals. It’s a strange concoction, but it works. This functions on a greater level for the EP as a whole, as it is intriguing and bursting at the seams with potential. - Caitlyn Meyer

Chez Raymond Is Now Out Everywhere

Tue, 09 Aug 2011 11:03:00 -0400

me&LP “Chez Raymond” now available at Itunes, Amazon, Bandcamp and all digital retailers worldwide. CD available for order HERE.

&amp;amp;amp;amp;lt;a href=”http://meandlp.bandcamp.com/album/chez-raymond” _mce_href=”http://meandlp.bandcamp.com/album/chez-raymond”&amp;amp;amp;amp;gt;Chez Raymond by ME &amp;amp;amp;amp;amp;amp; LP&amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;gt;

Lisa Papineau & Tyler Bates : Two Perfect Moments

Sun, 07 Aug 2011 15:28:03 -0400

They used to be in band called Pet together in the 90’s. Now Lisa Papineau (Me&LP, Big Sir) works with her old time band mate Tyler Bates on the incredible Soundtracks he does. Here is a great tune they did for the movie “Super”.

RCRD LBL Featured DL "Bonnie Says (No Shitty Ride)"

Thu, 28 Jul 2011 12:42:00 -0400

Matthew Embree and Lisa Papineau, two musicians with quite the pedigree between them (Rx Bandits and Big Sir, plus contributions to Air and M83, respectively), have joined forces in the shape of ME & LP. An unexpected pairing with backgrounds that could have landed them anywhere on the map, the surprising result is all the more satisfying. “Bonnie Says (No Shitty Ride)” has a dance groove at its core, maracas and some well-placed plucking creating a nice foil to Embree’s seasoned crooning. Papineau’s part does much the same, offering an airy, playful flair with parallels to Thao & Mirah’s latest at times. And just as with that dream team, ME & LP showcase the mark of a worthy match-up, pushing each other successfully into new terrain. The LP, Chez Raymond, is out August 9 on Sargent House.

CLICK HERE TO STREAM OR DOWNLOAD VIA RCRD LBL

ME&LP Store Is Now Open!

Wed, 27 Jul 2011 19:50:00 -0400

Pre-Orders for Chez Raymond CD’s are now up, you can also order a nifty bundle that comes with a choice of T-Shirt both are printed on American Apparel and first 250 orders recieve the limited edition poster (seen below) items are also available individually. Orders ship on or around August 9th, 2011 to anywhere in the world.
MEANDLP.HELLOMERCH.COM

La Belle Tocade Video and Chez Raymond Album Release News

Tue, 12 Jul 2011 12:14:00 -0400

me&LP is Matthew Embree and Lisa Papineau. Together they have created a stunning debut release called Chez Raymond. We are very happy to announce we will be releasing these songs via Sargent House August 9, 2011.

Check out the first video for La Belle Tocade

PRESS RELEASE
me&LP on tumblr
me&LP on facebook
me&LP on Twitter
me&LP Merch Store

me&LP - video coming soon….

Sat, 25 Jun 2011 22:27:00 -0400

me&LP - video coming soon….

Sound Colour Vibration Interview: Lisa Papineau

Fri, 10 Jun 2011 14:58:00 -0400

Lisa Papineau is one of our favorite singers and musicians at Sound Colour Vibration and we are very excited to bring this interview to our site. She was born in New England and is a current resident of Paris, France. Lisa has released two full length solo records, two records with her project Big Sir that includes The Mars Volta bassist Juan Alderete de la Peña, soundtrack scores and so much more. Now with a new Big Sir album completed and awaiting release along with a new project with RX Bandits guitarist and singer Matt Embree, she has created a legacy of music that is already showing its timeless nature. We contacted her to get some info on these various new projects and these are the results, enjoy! ~ by Erik Otis

You are releasing an EP this July through Sargent House with singer and guitarist of RX-Bandits, Matt Embree. What brought you guys together for a release and where was the EP recorded at?

We were asked to do a performance together for a mutual friend Sonny Kay’s art opening. When we got together to learn some of each other’s song for the show, we started improv-ing and rock-out-ing and it just felt and sounded really special to us, and so decided to expand on some of the ideas in a recording. Different parts of the album were recorded all over the place, in little nooks and crannies that we’d find ourselves in, but the heart of the album was recorded at my friend Matthieu Lesenechal’s (he is a cornerstone member of my solo project and also plays on Big Sir) studio in a salad field about an hour South of Paris. When we were recording my last solo record there, we dubbed the studio Chez Raymond, in honor of Matthieu’s uncle who had lived there when it was first built. Significantly, he passed away while Matthew E. and I were there recording our album, and so we named it Chez Raymond in his honor.

What type of instrumentation do you guys contribute to the album?

Embree sang, played guitar, quatro, bass, piano, synths, rhodes, drums, percussion, I sang, played synths, flute, percussion and drums, and Matthieu Lesenechal played accordian and all sorts of keyboards. We all made a lot of random noise too that wouldn’t necessarily be qualified as one instrument or another, but these swaths and pockets of ambient noise are definitely an integral part of the sound. Lots and lots of room tone too!

Are there plans to tour together with a full band set up?

I think at this point in time we are talking about playing live with the two of us and one other drummer/ multi-instrumentalist.

When do you plan on releasing another solo album?

Depending on when the new Big Sir record comes out, some time next year, as it is almost finished. I was gearing up to release a solo EP this year, but then Juan and I hunkered down into the Big Sir, and with some time I realized that I want to open the EP back up and add some other songs.

For live performances, did you have a preference on the mics you use?

I prefer a Shure SM58 or Beta 58A, I’m pretty sibilant, and also sing very dynamically (soft to loud to soft quickly), and they can take anything dished up. Also being dropped a lot… kind o’ clumsy. I know intimately what the tones of my voice sound like through these mics, and with a good reference it makes it easier to pinpoint any frequency issues in live set up.

Have you ever been into experimenting with effects pedals and so forth to modify your vocal tones?

Yes, but until recently, I generally used vocal tracks run through pedals as “instrumental” track. There is a favorite such a one on the first song of Night Moves… I had a lot of people ask me, “What is that strange guitar or keyboard you used in that part?” and that was really fun. Also, whenever I’d sing on Farflung or Anubian Lights tracks/shows, I always ran my vox through a couple of pedals that I could ride while singing, because it was a more organic vocal “soup” for the music. For Big Sir, “Lisa Papineau”, and Pet, I usually only liked to use an fx if it was REALLY obvious, because otherwise it felt like cheating? But that’s kind of dumb because in real life, one room to another is naturally “fx-ing” the way a voice reverberates in it, so the idea of using pedals isn’t really different than that, just pushing it to a certain extreme.

Do lyrics come first when you write a song, or music?

It is different for each song. Sometimes I have a lyric idea before the song exists, but the opposite is much more usual. For my own material, I generally write a stripped down instrumental structure on a keyboard or guitar, and build a melody arrangement around that, with very rough lyrics, and then refine them later. Then build instrumentation arrangements around that. With collaborative projects like Big Sir, it could start with a simple bass, key etc. riff or something very arranged musically and I’ll build the song/melodic/lyrical (if there are lyrics) structure from there, and then we’ll bounce it back and forth with other instrumentation and structure parts and arrangements. With Me&LP we were lucky to be able to have a lot of the music build out of jamming for lack of a less silly word, and some of the root lyrics ideas pulled from this improvisation.

Big Sir is your project with Mars Volta bassist Juan Alderete de la Peña. How is the latest record coming along that you guys are working on?

WE JUST TURNED IN THE MASTER TWO DAYS AGO… It feels amazing… we are both bursting.

Can we expect any guest appearances on the new Big Sir?

It is always a joy to have our friends play with us. Cedric Bixler-Zavala is playing drums on three songs, and singing on another. Matt Embree sings on a song, and Heather Lockie from Listing Ship plays viola on this track as well. Mark Ramos-Nishita, Jonathan Hischke and David Sims all contributed beautiful tracks on songs that, now that we’ve had to made the hard choices as to the album proper’s core sequence, are going to be special bonus tracks.

How do you and Juan Alderete de la Peña work together in the creation process of your music?

If we had our druthers, we would choose to spend more time in a room creating our songs together, but because of our schedules and commitments with our other musical projects, quite a lot was done bouncing ideas back and forth virtually. He’d throw down an idea, I’d cut it up and throw down something on top of that, he’d get it, cut it up more, take something out, throw something else on top. It’s not necessarily ideal, but this process at times gave the songs certain…. rough edges, that on one hand would drive us crazy and on the other hand we would sometimes love. But we certainly cannot deny that, hate them or love them, these rough edges are a part of the character of our music. And I don’t know if it would feel the same if we had the time and luxury to make things more smooth or slick. It is a running conversation.

You were also on one of the latest LP’s from Omar Rodriguez-Lopez. How much material did you guys record as I know you were only on 2 of the songs on the album?

These two songs.

Out of all of the places you have lived, what have been the most impactful on shaping how you approach your life and your music?

There is no question that every place, whether one is there for a year or a couple of hours, informs and impacts ones life, especially if one allows oneself to be… present… not tuned out in your own personal little grid. But I would say, for me personally, the three places that have most profoundly impacted me and the… cadence of my life and music, have been Vermont, Los Angeles, and the number of times I’ve driven alone across the US (being on such a long determined road is its own place.)

You have had the honor in making soundtrack music, what are some of your favorite experiences with that style of composition?

I truly enjoy improvising layers of vocals to visual cue… it can be daunting, but if you’re working with some one you really trust (Tyler, Bobby.. love you fools), it’s deeply moving and a lot of fun.

How much of your upbringing influenced the way you practice and compose?

My parent are both really hard workers who instilled me my sister and my brothers with the love of giving it your all, no matter how humble or grand the task before you. They always encouraged us to try and figure things out for ourselves. I know without them, I would not have the mental discipline nor the necessary fever to make music, a profession which requires an intense amount of self-motivation.

Photo by Reynaldo Rivera

Check out Lisa’s last full length Red Trees that was released in May of last year

&amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href=”http://lisapapineau.bandcamp.com/album/red-trees” _mce_href=”http://lisapapineau.bandcamp.com/album/red-trees”&amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Red Trees by Lisa Papineau&amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;