Hana Vu - Public Storage (Clear & White Marbled Vinyl) - VINYL LP
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Storage units hold possessions on pause from the outside world, objects capable of reconnecting us to a time or place. Hana Vu (born in 2000s California) grew up with her family making regular use of public storage spaces in Los Angeles, moving every few years, leaving a mix of the sacred and the mundane to sit inside concrete and steel. The 20-year-old musician sees the art of making and releasing songs in a similar sense Inchthese public expressions of thoughts, feelings, baggage, experiences that accumulate every year and fill little units such as 'albums.'Inch She lived next to one of these buildings when she started writing her full-length Ghostly International debut, Public Storage, and it's towering presence lends a metaphor to a record that sounds far bigger than the bedroom it came from. The emotional chattels of these guitar-driven pop songs are scattered in different boxes, but they all belonged to one person at one point. Being left behind gives these vignettes a tone of brooding introspection. Across the album, Vu excavates an internal universe, loading and unpacking memories, moods, and imagined scenes with agency, charisma, and conviction.Vu's relationship with music began when she picked up a guitar her dad had lying around and taught herself to play. She'd wake up every day and listen to LA's ALT 98.7, home to '90s and '00s alternative rock; later in high school, she found the local DIY scene. She remembers, InchA lot of my peer musicians were surf rock/punk type bands and so I tried to fit into that when I was gigging around. But what I was listening to at that time [St. Vincent, Sufjan Stevens] was very different from what I performed.Inch Ultimately she'd do her own thing, keeping a journal of bedroom pop experiments on Bandcamp, including a low-key Willow Smith collaboration and covers of The Cure and Phil Collins. She caught the ear of Gorilla v
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- GenreRockDescriptionStorage units hold possessions on pause from the outside world, objects capable of reconnecting us to a time or place. Hana Vu (born in 2000s California) grew up with her family making regular use of public storage spaces in Los Angeles, moving every few years, leaving a mix of the sacred and the mundane to sit inside concrete and steel. The 20-year-old musician sees the art of making and releasing songs in a similar sense Inchthese public expressions of thoughts, feelings, baggage, experiences that accumulate every year and fill little units such as 'albums.'Inch She lived next to one of these buildings when she started writing her full-length Ghostly International debut, Public Storage, and it's towering presence lends a metaphor to a record that sounds far bigger than the bedroom it came from. The emotional chattels of these guitar-driven pop songs are scattered in different boxes, but they all belonged to one person at one point. Being left behind gives these vignettes a tone of brooding introspection. Across the album, Vu excavates an internal universe, loading and unpacking memories, moods, and imagined scenes with agency, charisma, and conviction.Vu's relationship with music began when she picked up a guitar her dad had lying around and taught herself to play. She'd wake up every day and listen to LA's ALT 98.7, home to '90s and '00s alternative rock; later in high school, she found the local DIY scene. She remembers, InchA lot of my peer musicians were surf rock/punk type bands and so I tried to fit into that when I was gigging around. But what I was listening to at that time [St. Vincent, Sufjan Stevens] was very different from what I performed.Inch Ultimately she'd do her own thing, keeping a journal of bedroom pop experiments on Bandcamp, including a low-key Willow Smith collaboration and covers of The Cure and Phil Collins. She caught the ear of Gorilla vArtistHana VuTitlePublic Storage (Clear & White Marbled Vinyl)FormatVINYLLabelGhostly Int'l
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Storage units hold possessions on pause from the outside world, objects capable of reconnecting us to a time or place. Hana Vu (born in 2000s California) grew up with her family making regular use of public storage spaces in Los Angeles, moving every few years, leaving a mix of the sacred and the mundane to sit inside concrete and steel. The 20-year-old musician sees the art of making and releasing songs in a similar sense Inchthese public expressions of thoughts, feelings, baggage, experiences that accumulate every year and fill little units such as 'albums.'Inch She lived next to one of these buildings when she started writing her full-length Ghostly International debut, Public Storage, and it's towering presence lends a metaphor to a record that sounds far bigger than the bedroom it came from. The emotional chattels of these guitar-driven pop songs are scattered in different boxes, but they all belonged to one person at one point. Being left behind gives these vignettes a tone of brooding introspection. Across the album, Vu excavates an internal universe, loading and unpacking memories, moods, and imagined scenes with agency, charisma, and conviction.Vu's relationship with music began when she picked up a guitar her dad had lying around and taught herself to play. She'd wake up every day and listen to LA's ALT 98.7, home to '90s and '00s alternative rock; later in high school, she found the local DIY scene. She remembers, InchA lot of my peer musicians were surf rock/punk type bands and so I tried to fit into that when I was gigging around. But what I was listening to at that time [St. Vincent, Sufjan Stevens] was very different from what I performed.Inch Ultimately she'd do her own thing, keeping a journal of bedroom pop experiments on Bandcamp, including a low-key Willow Smith collaboration and covers of The Cure and Phil Collins. She caught the ear of Gorilla v
Limited yellow colored vinyl LP pressing. In 1962, Gordon relocated to Paris, where he became part of a vibrant jazz community. He was already a well-established figure in the jazz world due to his groundbreaking work in the 1940s and 1950s. His decision to live in Europe revitalized his career, allowing him to continue evolving as a musician away from the struggles in the USA he enjoyed enormous respect in Europe, which allowed him to perform freely, often in clubs and on tours, without the burdens of American racism. Paris had long been a haven for jazz musicians artists like Miles Davis, Thelonious Monk, and John Coltrane were celebrated in Europe, and the French jazz scene, in particular, became a hotspot for both American expatriates and European musicians. Dexter Gordon quickly became one of the leading figures in that scene. Our Man in Paris is a celebrated jazz album and it is widely regarded as one of Gordon's best works. It is considered one of Gordon's finest albums due to it's blend of bebop virtuosity, lyrical improvisation, and the tight interplay between world-class musicians a classic jazz record, beloved for it's authenticity and the inspired performances of Dexter Gordon and his ensemble. This album is now considered a classic in the jazz canon that's not only a remarkable album because of it's flawless execution and historical significance, but it also captures a pivotal moment in jazz history where American jazz musicians were embracing new experiences and sounds in Europe and captures the essence of Gordon's bebop roots while showcasing the influence of his time in Europe. Album Tracks 1. Scrapple from the Apple - Dexter Gordon 2. Willow Weep for Me - Dexter Gordon 3. Broadway 4. Stairway to the Stars 5. A Night in Tunisia
Reissue of the 1976 historic collaboration between producer instrumentalist Augustus Pablo and dub engineer King Tubby.InchIf you had to pick one album that best represents the pinnacle of the art of dub, you'd cull the candidates down pretty quickly to ten or 12, and it would get very difficult after that. Few would fault you for ending up with this one, though, which stands as perhaps the finest collaboration between two of instrumental reggae's leading lights producer and melodica player Augustus Pablo and legendary dub pioneer King Tubby. Among other gems, this album offers it's title track - a dub version of Jacob Miller's 'Baby I Love You So'- which is widely regarded as the finest example of dub ever recorded. But the rest of the album is hardly less impressive. 'Each One Dub', another cut on a Jacob Miller rhythm, possesses the same dark and mystical ambience, if not quite the same emotional energy, as 'King Tubby Meets Rockers Uptown,' and the version of the epochal 'Satta Massaganna' that closes the album is another solid winner. Pablo's trademark 'Far East' sound (characterized by minor keys and prominent melodica lines) is predominant throughout, and is treated with care and grace by King Tubby, who has rarely sounded more inspired in his studio manipulations than he does here. Absolutely essential.Inch -Rick Anderson, All Music Album Tracks 1. Keep on Dubbing 2. Stop Them Jah 3. Young Generation Dub 4. Each One Dub 5. 555 Dub Street 6. Braces Tower Dub 7. King Tubby Meets Rockers Uptown 8. Corner Crew Dub 9. Say So 10. Skanking Dub 11. Frozen Dub 12. Satta Dub
High-definition premium 180gm vinyl pressing of this classic Jazz album. Jazz Wax Records. 2010. Album Tracks 1. Trav'lin' Light (Johnny Mercer-Jimmy Mundy-Trummy Young) 3 10 2. I Must Have That Man! (Jimmy McHugh-Dorothy Fields) 3 06 3. Some Other Spring (Arthur Herzog Jr.-Irene Kitchings) 3 39 4. Lady Sings the Blues (Herbie Nichols-Billie Holiday) 3 46 5. Strange Fruit (Lewis Allan) 3 04 6. God Bless the Child (Billie Holiday-Arthur Herzog Jr.) 4 00 7. Good Morning, Heartache (Ervin Drake-Dan Fisher-Irene Higginbotham) 3 32 8. No Good Man (Sammy Gallop-Dan Fisher-Irene Higginbotham) 3 18 9. Love Me or Leave Me (Walter Donaldson-Gus Kahn) 2 34 10. Too Marvelous for Words (Richard Whiting-Johnny Mercer) 2 12 11. Willow Weep for Me (Ann Ronell) 3 06 12. I Thought About You (Jimmy Van Heusen-Johnny Mercer) 2 46 13. P.S. I Love You (Gordon Jenkins-Johnny Mercer) 3 35*
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