![]() Shuttles are available at the Kalispell airport.Īmtrak's historic Empire Builder train line stops year-round at West Glacier (Belton), The Izaak Walton Inn at Essex, and seasonally at East Glacier. Great Falls International Airport is located between 130 miles to 165 miles east of East Glacier Park, St Mary, Two Medicine, and Many Glacier Entrances. Missoula International Airport is located approximately 150 south of the West Entrance. Glacier Park International Airport is located near Kalispell and is approximately 30 miles west of the West Entrance. Several commercial service airports are located within driving distance of Glacier National Park. Mary Entrance is the east entry point of Going-to-the-Sun-Road and provides access to the St. ![]() From the east, all three east entrances can be reached by taking Highway 89 north from Great Falls to the town of Browning (approximately 125 miles) and then following signage to the respective entrance. From Kalispell, take Highway 2 north to West Glacier (approximately 33 miles). The recordings on Sun Arcs conjure a similarly intimate view, one that can feel both magical in its simplicity and all the more compelling for what’s just out of frame.From the west, the communities of Kalispell, Whitefish, and Columbia Falls, provide access to the Lake McDonald area, Park Headquarters, the Apgar Visitor Center and Going-to-the-Sun-Road. In one of his later pieces, he filmed a curtain blowing against an open window at sunset while he and his wife were eating dinner, the sound of their dishes faintly audible alongside their breath and the wind. “The isolation and silence, the lack of interruption, has been inspiring,” he said in a 2021 interview. Near the end of his life, Snow focused on art made with the perspective granted by his remote Newfoundland cabin. In addition to fellow Americana wanderers like William Tyler, whose experiments with krautrock on Modern Country set a precedent for the more fleshed-out songs here, Snow’s minimal but boundaryless approach seems a fitting model for Dungan’s evolving vision. For the nine-minute closer, “Wavelength,” he cites the 1967 film of the same name by experimental auteur Michael Snow, whose endless zoom-in technique he draws from by pulling us closer without limiting the psychedelic, open-ended appeal of his art. He recalls the way his dog slept on the floor beside him through the entire recording of “Fur,” whose pattering drums, pump organ, and clarinet each find subtle ways of offering companionship. In the liner notes, he refers to visual cues as often as sonic ones, and the recording process seems inextricable from the compositions themselves. Taking a tactile approach to each instrument, Dungan’s music transcends from merely pleasant to something inhabitable: places that you will want to return to. Like guests slowly arriving at a party and filling the room with conversation, the arrangement gathers at a natural pace that grows warmer and brighter as each new element joins in: a deep, sawing cello a childlike keyboard melody percussion that seems to echo the movement of Dungan’s hand along the fretboard. “Bloom” is Dungan’s most uniformly gorgeous performance to date, based on an open-tuned, fingerpicked melody that would sound equally at home on a solo guitar record or accompanying a singer-songwriter. Other songs feel like breakthroughs, new ways to ground his distinctive voice. “Green-Yellow Field,” meanwhile, is an improvised solo performance that sweeps with incidental harmony reminiscent of wind chimes, the pauses between each note carrying as much resonance as the strings. The title track is a duet between zither and the driplike, amelodic plucks of slide guitar, played high up the neck. Some tracks are devoted almost entirely to the instrument. ![]() His work centers on the sound of a 48-string zither, which he built specifically for the project: a texture that lands somewhere between harp and sitar. This sense of patience aligns Dungan’s music with genres like drone and ambient as much as jazz, and his use of acoustic instruments helps strike a blend that feels distinctly his own. He leaves an impression less through melody than through feeling: the kind of ecstatic release that comes from hammering a simple theme over and over, until its movements come second nature and each subtle shift promises to lead somewhere new. The project shares a name with a live album by jazz trumpeter Don Cherry, and the influence of improvisatory ensembles is clear in Dungan’s work. The results of his exercise feel clear-eyed and optimistic, ambitious and multidimensional enough to conjure the sound of a full band even though he is the only person in the room. To create his latest album, Sun Arcs, Dungan retreated to a cabin in the Swedish woods where his days were occupied solely by making music and walking his dog. ![]()
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