As a composer of ambient drone, Kyle Bobby Dunn takes minimalism and makes it even less so. His arrangements are so very focused and deliberate, one listening might fear disrupting his concentration by getting into his eyeline. But the Canadian is anything but pompous about his craft. His Bandcamp bio is simply “boring you to tears all these years.” He livens up his discography with amusing titular homages to Sam Peckinpah and Smashing Pumpkins with Bring Me The Head of Kyle Bobby Dunn and Infinite Sadness. (He apparently has an affinity for ‘SP’-named artists).

Dunn’s music is a lot of things, but boring is not one of them. ‘Exhausting’ might be a better descriptor, but the best is probably ‘exhaustive.’ His compositions are glacial: slow-moving, icy, and behemothic. Listening to a full album of his might start off with the intention of having some unintrusive background music, but the sheer patience Dunn exhibits with his creations eventually means his sounds are all you can notice.

The new split KBD / WRT, pairs Dunn with kindred triple-named music spirit Wayne Robert Thomas. Hailing from Indianapolis, Thomas hasn’t built the discography as big as or a name as recognizable in experimental circles as Dunn’s, but he’s doing anything but playing second fiddle/droning guitar to Dunn. On this split, Dunn and Thomas each offer 20-minute long pieces that pair well while asserting their respective individualities.

Dunn’s track ‘The Searchers,’ takes its title from John Ford’s renowned Western. You likely won’t have visions of John Wayne with this take on it. Instead, the stunning vistas that partially gave us Star Wars are given a gorgeous aural interpretation. He offers a gradual crescendo in volume as if doing us a favor by not completely overwhelming our senses. Sympathetic to the needs of effective drone to sustain tones without being merely placative, Dunn carefully seeps in a tonal edge that avoids spa playlist fodder. By the time the track ends, you might need a few moments to regain your bearings.

But don’t take too long, because Thomas’ half, ‘Voyevoda,’ (a Tchaikovsky opera as well as a term for an administrator in 16th-18th century Russia) serves as an ideal continuation of Dunn’s piece. While also expanding in volume, ‘Voyevoda’ is less about searching in terms of physical movements and more about journeying through one’s mind, in reflection, speculation, and more. Any feelings of pronounced melancholy or contentment will likely be furthered by this track. Thomas gets great mileage out of carving into sounds as thoroughly as possible and discovering new textures. It’s the kind of track you want to follow to the ends of the earth.

There’s no shortcutting to be had with appreciating music like this. Even at a relatively digestible length, Dunn and Thomas are still expecting your commitment and they’re going to make new movements when they know they need to, not when they think you might want them to. For anyone wanting to go on a richly satisfying journey of soundscapes, this is for you.