I’m curious why that idea felt compelling enough to work into a song. Those lyrics are about rethinking that framework and being like, “What does anyone think family is?” versus what we’re supposed to feel family is. I think it means many other things, and I think family is not the concept that we’re beholden to. It can mean that, but I think it has this American connotation of the end-all-be-all for love and acceptance. People say, “This is my chosen family,” or with your friends, you’re like, “You’re my real family,” and I was thinking about how those sayings are a roundabout way of saying, “I feel very loved and accepted by you, and I love and accept you,” which is not what I think “family” means. On the title track, there’s a lyric where you say you don’t believe in family. But I would say this record is pretty layered and lush, and I didn’t think there were a lot of things that looked gross and sounded the way my record sounds. ![]() For the art direction, I wanted to make something really eye-catching but also very aesthetically gross and raw-in my own life, those are things I’m drawn to. I didn’t think it was too insane or anything, but then I was on Reddit and everyone was saying the record cover is horrible. I was also wondering if “invasive” is a word you’d use to describe the album and single artworks of disturbing, almost dissociated close-ups of mouths and eyes. I didn’t want to have any sort of background-music sound. You’ve described Public Storage as “invasive.” I’ve never heard that word used to describe music before.Ī lot of music I’ve heard from young people seems to be more atmospheric, versus experiential music where it feels like, “This is a story I see myself in,” whereas atmospheric music is like, “This song plays in the background of my life.” I wanted to make a really layered and textured record. I would collect all these different references all the time, and I never found one genre that I wanted to form my songwriting identity into.” “ The music you make is all derivative of the music you listen to, and I never gravitated toward any one type of music. Sonically, the eclectic, jumbled nature of it lent itself to the public storage metaphor. ![]() I would collect all these different references all the time, and I never found one genre that I wanted to form my songwriting identity into. The music you make is all derivative of the music you listen to, and I never gravitated toward any one type of music. With all the projects I’ve released in the past couple of years, I would describe them as sonically very eclectic. I understand how the album’s titular public storage metaphor-the idea of items in storage units-might describe the structure of an album, but I’m curious how the metaphor impacted the music itself. We recently spoke with Vu about the extended metaphor underlying Public Storage, the desperation and impatience behind the record’s genesis, and the moment she realized that Phillips was the perfect co-producer. They do the same for the inscrutable yet clearly personal nature of Vu’s lyrics, which find the artist questioning notions of family, what we find in other people, and, ultimately, her place in the world. Vu and Phillips explore these new sonic frontiers at slower tempos than in Vu’s past, and these pared-back paces spotlight the delicate balance that Vu and Phillips strike between restraint and combustibility. The explosive chorus of Public Storage ’s title track is a great example, and so is the balance that “Keeper” strikes between Vu’s more electronic past and rock-indebted present. While working on the album, the two dug deeper into the rock underbelly of Vu’s previous highlights and emerged with a booming, guitar-driven sound. ![]() Though the label is often associated with solo electronic acts, Public Storage is Vu’s least electronic record to date, thanks partially to co-production-a first for the previously entirely self-produced Vu-from Jackson Phillips of indie-rock institution Day Wave. In many ways, the LP is indeed a new start, if not a forceful push of the reset button.įor starters, Public Storage is Vu’s first release for esteemed label Ghostly International. So to call Public Storage her debut album might be a bit disingenuous, but it does make a modicum of sense. Her 2019 double EP Nicole Kidman / Anne Hathaway squeezed 10 tracks into just under half an hour, certainly an album-length duration. How Many Times is often referred to as Vu’s debut EP, yet its 38-minute runtime is as long as the average LP. ![]() In summer 2018, after collaborating with Willow and earning Tegan and Sara’s endorsement, the 20-year-old Angeleno released How Many Times Have You Driven By on Luminelle Recordings. It’s not exactly a hot take to question an artist’s first album being described as their “debut” when they’ve already built a fanbase with several EPs, and Hana Vu ’s Public Storage is an especially apt example.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |