Kyle Bobby Dunn live from the Cameo Lounge

                Kyle Bobby Dunn’s album “Ways of Meaning” has quickly become a favorite album of mine.  So when I heard he would be performing, I decided to go. Cameo Lounge, a place across the street from American Apparel (just in case you forgot you were in Williamsburg) ended up hosting him. This was ideal. Usually in the middle of the week I feel a bit overwrought. Spending an hour or so with Mr. Dunn’s music sounded like a good way to relax.

                Besides Mr. Dunn, we were also treated to a visual performance which worked alongside the music. The images were of ordinary things after one paid attention to them. Among the video piece one saw manipulated fireworks (my personal favorite), a close up of a drink, and other images so foreign I can’t even begin to guess what they might have displayed.

                I like how Kyle’s music forces people to be quiet. After about a minute, everyone began regulating their movements in accordance with the sound. No one bought a beer, touched a glass, or even coughed. For music to do such a thing is no mean feat. Take it from someone who has a tendency of standing in front of rich YUPPIES talk about their vacation home out in the Hamptons. Having a musician who can suck the ambient noise out of a room is a rare feat indeed.

                The pieces were mostly from his newest album. “Movement for the Completely Fucked” the gem of the album was introduced with some slight changes. Sitting there you had to surrender to the sound. While it starts up quietly it builds. Live it felt more intense as I tend to listen to music on headphones than on speakers (damned laptop). I enjoyed the loudness. Real volume occurred only at specific points, to heighten the listener’s awareness.

                Usually I get to concerts in time to see the opening or closing act. In this case I missed the other performers. My apologies for that, it was a very busy day. Kyle Bobby Dunn did a fantastic job with the smallest of details. Hopefully his next performance in DUMBO will be even more successful.

Kyle Bobby Dunn – Ways of Meaning 8.5

                “Ways of Meaning” may be Kyle Bobby Dunn’s springtime album. His last work “A Young Person’s Guide To” felt glacial compared to this work. I like both, but the shorter length and louder volume makes it a bit easier to immediately enjoy. Volume is a relative thing in Kyle’s world. Things never get too loud; his focus on silence is greatly appreciated. 

                How he unfurls his work is great. My childhood was spent listening to various classical pieces, especially slow ones. In church I’d hear the organist play to let us know when to be seated and when peace was upon us. “Statuit” gives me that same warm feeling I got from shaking everyone’s hand after saying “Peace be with you and also with you”. There’s sweetness in the piece, a patience which I don’t often encounter, even within the slow-moving world of drone. 

                This is still quiet music despite the slight increase in loudness. “Canyon Meadows” is the loudest piece on here. I figure it is to give a sense of largeness to the record. When I listened to this, I was watching the shadows grow as the day ended. Perhaps this might be the best way to listen to the song, I’m not sure. 

                “Movement For the Completely Fucked” is the longest track on here, and probably the jewel of the album. The title itself reminds me of Stars of the Lid’s tendency to use jarring titles for their calming pieces. Fifteen minutes go by so blissfully. I think this may be my favorite piece on the album. 

                All of Kyle’s work revolves around patience and longevity. Considering he’s been making music for almost 10 years, that’s pretty impressive. It’s doubly impressive he’s only in his early twenties and has already built up such a large body of work. “Ways of Meaning” may be my favorite release from him so far, so sunny and full of hope.

Kyle Bobby Dunn – A Young Person’s Guide To 8.4

                A Young Person’s Guide to the Orchestra is what I’m thinking the title references. Since there are so many different instruments being used for the recording, this interpretation might make the most sense. Picking out any instrument (besides the piano, which is pretty distinguishable) can be somewhat difficult, as the sounds are blurred together to create comforting, floating drones.

                There are drones, two hours’ worth of the stuff. Personally, I enjoy it when the artist takes a longer format approach, particularly for the’ lose-yourself-in-it’ stuff like what this offers. Over the course of the two hours, you’re treated to the warmest of drones. How these drones move forward is pretty amazing, he has a certain method to how each piece unfolds so graciously. In fact, picking out a specific movement or dramatic change is impossible, think of watching the clouds float by on a bright sunny day. 

                “Butel” starts off the two-disc set in positively massive fashion: a 17-minute piece where things build up so discretely (even once compared to the other pieces). Immediately you can feel its warmth, and its fragile state. It never gets loud or overwhelming, but slowly gains your attention. “There Is No End To Your Beauty” has a delightful ebb and flow of sound as if it were almost sentient. After this you get “Promenade” which brings up images of Stephan Mathieu’s drone work, it is simply so bright and airy. 

                Disc Two offers its own highlights. “Last Minute Jest” and “Set of Four (Its Meaning Is Deeper Than Its Title Implies)” are gorgeous piano pieces. “The Nightjar” ends things off with a quiet sample repeating ‘looking at yourself’. 

                Maybe there’s something about geography which influences the music one makes. Stars of the Lid had the vast Texas expanse; Kyle grew up in Alberta, pretty similar to Texas’s levels of open space and emptiness. It is always reassuring to have releases this massive, with so much good music to absorb. Personally, I tend to enjoy long-length works when they’re done properly, and Kyle knows exactly the sort of mood he wants.

                Once the music ended, I felt happy. Somehow this music just brightens my day, gives me a more optimistic feel. Think of it as music to comfort you in long winter nights, to have these drones combine with the creaking of your building, of the subtle choir of radiators going off. I absolutely adored this.