thepatformist:

Vampire Weekend - Hannah Hunt

In a recent interview, Ezra Koenig has said that while he worked on ‘Hannah Hunt’ for about 7 years, he finds that it could not have worked as a track on either of their first two albums. This, if anything, should be some indication of the tone and direction of the New York quartet’s third outing Modern Vampires of the City. The track itself is a mastery of minimalism by Vampire Weekend’s standards. It’s not as ornate with an abundance of sounds and influences, but perhaps takes the group’s sound into a place they haven’t necessarily ventured into before. The more restrained bass, percussion, and piano leave room for an instrument that is sometimes too often overlooked: Koenig’s voice. His soft crooning ties all the subtle details of the track together. The lyrics are rich with details and imagery from talk of “crawling vines and weeping willows” to “freezing beaches” that also translate to the beautiful sonic textures that unfold as the track progresses.

The key line that Koenig repeats is one that goes “Though we live on the US dollar / you and me, we got our own sense of time.” It represents the essence of the track, which is ultimately about a relationship that once was. It perfectly captures that feeling you get when you’re with that one person, that significant other. Things feel right in a way that only the two of you understand, and it’s apart from everything and everyone else in the world. But as the song reaches the marvelous piano breakdown and as the vocals intensify, it becomes clear that sometimes things just don’t work out despite your best efforts. In this way, Vampire Weekend have indeed matured and grown up. Not only have they mastered a slower, more minimal arrangement with a wonderful build-up, but they’ve also seen and learned, loved and lost. These lessons come together beautifully and effortlessly in ‘Hannah Hunt,’ being indicative of where they’ve been, where they are, and how they’ve felt along the way.

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dopejonker:

i’m in real tears right now

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razorshapes:

Vincent van Gogh

Landscapes from Saint Rémy (1889)

As a Dutch post-Impressionist painter, Vincent Van Gogh influenced the 20th century art with his landscape paintings where he used vivid colors that made an emotional impact. The early works of Van Gogh were painted with a palette of somber earth tones and no signs of the vivid coloration that distinguished his later works. When he moved to Paris in 1886, he was inspired by the French Impressionists and was fascinated by the strong sunlight on the south of France. Since then, he used brighter colors in his paintings that helped him develop a unique style of his own which became known considerably in the later years of his life while staying in Arles in 1888. Van Gogh’s incredible Sunflowers series of still life paintings were loved by him and he felt that there could not be anything better to convey a sense of welcome, belongingness and happiness.

On 8 May 1889, accompanied by his carer, van Gogh committed himself to the hospital at Saint Rémy. 

During his stay in Saint-Rémy, Van Gogh produced 150 paintings after he converted an adjacent cell into a studio. While he was confined to the direct asylum grounds, he painted the world he could see from his room, and ignored the bars that obscured his view. His paintings in the garden of the asylum included irises, lilacs, and ivy-covered trees. His paintings further ventured into the fields, of which he painted the wheatfields, olive groves, and cypress trees from the surrounding countryside view. This imposed regimen of his asylum life gave him contentment and helped him to think positively about his life and future.

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Flotique Jewellery

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