Views from Sixteen Stories Alaskan Tapes
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- 1Oh, Seeker (44.1kHz)02:44
- 2The Times Are Tired (44.1kHz)04:02
- 3And Yet They Float06:09
- 4Lift Me (Somehow)02:22
- 5Another Song to Stop the Spinning (44.1kHz)08:24
- 6Still (feat. Voga)01:31
- 7And, We Disappear04:37
- 8Views from Tower Two (44.1kHz)06:33
- 9Pretend (44.1kHz)02:21
- 10Views from Sixteen Stories04:09
- 11Before Sinking (44.1kHz)03:07
Info zu Views from Sixteen Stories
Views From Sixteen Stories is an 11 track album which features Raphael Weinroth-Browne on Cello, Jay Austin on French Horn, and Owen Vaga on Track 6. The album is completely instrumental, and consists of tracks inspired by genres such as Post-rock, solo piano, and Drone.
In light of the release date (eight days after 9/11) it’s impossible to ignore the track titles “Views From Tower Two” and “Views From Sixteen Stories.” The tower attack is indelibly etched in the minds of mourners in September, and even if the connection is unintentional, the sense of peace provided by these pieces is not. We may be enjoying a luxurious, sunny day when suddenly everything falls down. All the more reason to embrace what and whom we have, to hold on to happy moments, fleeting as they may be. This is the entire purpose of Alaskan Tapes: to name our sadness, and to offer it a serenade. The album may look grey, and sound grey, and grey may be the color of ashes, but it is also the color of indeterminate things, able to tip in one direction or the other. Ironically, the empathy of Alaskan Tapes may lift listeners from the grey of the day. (Richard Allen)
is Brady Kendall’s ever-evolving ambient music project. The record will be his fifth outing and follows his 2019 full-length Views From Sixteen Stories. Kendall wrote the nine songs on For Us Alone in three groups of three, and as a result the music flows cohesively from one track to the next. Exactly three songs feature drums—one in each suite, a technique that helps flesh out the groups and connect them to the whole. Everything was written and recorded in Kendall’s home studio space in the apartment where he lives with his girlfriend about an hour north of Toronto; strings were added remotely by Jonathan Dreyfuss in Berlin, who was the only musician aside from Kendall to play on the album. The recording embraces the imperfect nature in which it was made, from ambient blips that add texture and depth to the low hum of a conversation elsewhere in his home to the intentionally muddy way the electronic drums were captured.
Growing up, Brady played the drums in metal bands before he discovered the drum & bass scene. He started to create and post liquid drum & bass tracks online before becoming more focused on what he calls “drawn-out minimal sounds.” Out of these style tracks, the project was born. Starting in early 2016 with the debut EP Beyond the Streets and then a full-length, We All Speak in Poems, later that same year, Alaskan Tapes began releasing a steady stream of music that gradually ebbed and flowed into new sonic territory and served as a natural progression of Kendall’s tastes and sound experiments. From the initial atmospheric electronica and beat-less ambient songs of that first pair of records to neoclassical dream pop, guitar-based ambient, and drone music—some songs
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