All of your favorites, in one place.
Based in Montreal, Kyle Bobby Dunn has been producing elegant and refined works of ambient minimalism for the better part of a decade. His two lengthy and critically lauded collections for the Low Point label, A Young Person’s Guide to Kyle Bobby Dunn and Bring Me the Head of Kyle Bobby Dunn, established him as a force to be reckoned with in the current epoch of drone / ambient music. Indeed, his compositions offer listeners wonder, sadness and pathos in equal measure, and are executed with a precision and effortlessness that eludes many musicians working in the genre. Kyle Bobby Dunn and the Infinite Sadness is undoubtedly his most focused and emotionally charged work thus far, a rich, expansive collection of slowly unfurling beauty that stretches out over the course of more than two hours. Dunn’s trademark guitar swells and slowmoving loops feel clearer and have a renewed sense of purpose and poise. He recorded source material for the album in various Canadian towns, including Belleville and Dorset, and processed and arranged the recordings at L’auberge de Dunn Studios in Montreal while, in his own words, “reflecting heavily on the gorgeous feet of a certain French woman and binging on strong beer and cheese.” From the opening salvo, “Ouverture de Peter Hodge Transport,” Dunn establishes a haunting, lovelorn trajectory that is developed through the strikingly beautiful “Boring Foothills of Foot Fetishville” and the poignant closer “And the Day Is Dunn and I Can Only Think of You,” titles that exhibit well his trademark sense of (black) humor. Kyle Bobby Dunn and the Infinite Sadness is a powerful statement, the artist’s most complex, complete and accessible album to date.