Kyle Bobby Dunn is an ambient music composer from Canada. No More Workhorse recently had the chance to ask him some questions about life during the lockdown and the recent re-release of his album ‘Bring me the Head of Kyle Bobby Dunn’ on vinyl.
What is life like in Montreal for you at the moment? Has the Pandemic altered your life much?
Montreal is basically the love of my life kind of city. I will probably always love it even in its bleakest moments which are quite plentiful these days but it’s also amazing to see the city become more like a quiet town again. Never thought I’d see it like this. I have always enjoyed long walks and that’s basically all there is for anyone to do anymore but the curfew thing has just been imposed and I don’t like not being able to go out for walks at night. Overall it’s an utterly insane time and for the entire world, I realize. At least there is peace and quiet within all the madness.
Can you tell me a little about how you create your music? Are you working with a PC mostly? What packages do you use?
I have often used computers for the last few albums. It’s actually a very old laptop that was still able to run an old version of Logic Pro7. Working on new material again these days and going to try using old tapes and nice mics. Will be a mostly acoustic recording which is nice and different.
What would you say to someone who is interesting in starting off making ambient music?
I’m not too sure but if you are passionate about any kind of music it’s almost like you can’t help but just create. I would say don’t worry about making music for anyone but yourself and how true it feels to you and you alone. I am still amazed people can relate and feel the emotions in my work, it’s always felt like it only made sense to me only but music is still this grand communication tool for things words fail us with.
You have recently rereleased your album ‘Bring me the Head of Klye Bobby Dunn’ on vinyl. Has it made you revisit the work? Is there anything you’d have done differently if you were recording it now?
It’s an album from 2012 but it was really well received when it arrived on CD only back then. I still really like work on it and it reminds me of my younger days and definitely feels dated now but the depth is still there. I’m not sure if I’d do anything differently – they felt so thin and airy when I was finished with it all and my good friends are remastering it to bring out new qualities for this release so maybe it will feel like a new album in some ways.
The album is available on vinyl here.