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The title makes it clear. “A La Sala” (“To the Room” in Spanish), the fourth studio album by Khruangbin, is an exercise in returning in order to go further, and do so on your own terms. It extends the air of mystery and sanctity that’s key to how bassist Laura Lee Ochoa, drummer Donald “DJ” Johnson, Jr. and guitarist Mark “Marko” Speer approach music.
Yet if 2020’s Mordechai, the last studio album Khruangbin made without collaborators, was a party record whose ensuing post-lockdown tour enhanced the band’s musical reputation far and wide, “A La Sala” is the measured morning after. It’s a gorgeously airy album made only in the company of the group’s longtime engineer Steve Christensen, with minimal overdubs. It is a porthole onto the bounties powering Khruangbin’s vision, a reimagining and refueling for the long haul ahead. “A La Sala” scales Khruangbin down to scale up, a creative strategy with the future in mind.
Dead Oceans
The title makes it clear. “A La Sala” (“To the Room” in Spanish), the fourth studio album by Khruangbin, is an exercise in returning in order to go further, and do so on your own terms. It extends the air of mystery and sanctity that’s key to how bassist Laura Lee Ochoa, drummer Donald “DJ” Johnson, Jr. and guitarist Mark “Marko” Speer approach music.
Yet if 2020’s Mordechai, the last studio album Khruangbin made without collaborators, was a party record whose ensuing post-lockdown tour enhanced the band’s musical reputation far and wide, “A La Sala” is the measured morning after. It’s a gorgeously airy album made only in the company of the group’s longtime engineer Steve Christensen, with minimal overdubs. It is a porthole onto the bounties powering Khruangbin’s vision, a reimagining and refueling for the long haul ahead. “A La Sala” scales Khruangbin down to scale up, a creative strategy with the future in mind.
