![]() Khruangbin’s aspirations and commitment to playful creativityeven extends to A La Sala’s vinyl packages, of which there will beseven distinctive covers and color-sets. This is who they are! Unique and huge (andgrowing), ambitious and driven. Here, Khruangbin’s sonic touch-points -whether spaghetti-western film scores (on “Fifteen Fifty-Three”),West African discos (on “Pon Pón”), G-funk fantasias (“TodavíaViva”), living room dancing moments (the first single, “A LoveInternational”), or even ambient found-sounds (on “Farolim deFelgueiras and throughout the album”) - are ingrainedcharacteristics. Where prior albums strivedtowards music’s polyglot edges, such inquiries now sound likebeloved intimacies. Yet there’s afreshness to A La Sala’s instrumental interactivity, less concernedwith getting further out than going deeper in, a profound desire tocelebrate the world’s external wonders. A cascade of crispmelodies emanates from Marko’s reverb-heavy electric, dancinggently around Laura Lee’s minimalist almost-dub bass triangles,while DJ’s drums serve as the tightened-up pocket and unwaveringdance-floor on which all this movement takes place. The trio’s collective musical DNA, the years spent constructing itin Houston’s local-meets-global cultural stew, ensures the bandcontinues to sound like no one but itself. A LaSala scales Khruangbin down to scale up, a creative strategy withthe future in mind. It’s a window onto the bounties powering Khruangbin’svision, a reimagining and refueling for the long haul ahead. It’s a gorgeously airy record completed only in the companyof the group’s longtime engineer Steve Christensen, with minimaloverdubs. and guitarist Mark “Marko” Speer approach music.If 2020’s Mordechai, the last studio LP Khruangbin made withoutcollaborators, was a party record that enhanced the band’s musicalreputation far and wide, then A La Sala is the measured morningafter. It continues the mystery and sanctitythat is the key to how bassist Laura Lee Ochoa, drummer Donald“DJ” Johnson, Jr. Khruangbin’s fourth studio album, A La Sala (“To the Room” inSpanish), is an exercise in returning in order to go further, anddoing so on your own terms. We Only Talk About Real Shit When We're Fucked Up Murder By Death - Original Motion Picture Soundtrack Īpocalypse (Ten Year Anniversary Edition) ĭeeper Well Shriek + Variations (Bonus Tracks) (Gate) Trail Of Flowers įor Your Consideration Blue TranslucentĪll My Friends Ĭhange The Game No Matter How Long The Line Is At - Purple Transnational Speedway League: anthems, anecdotes and undeniable truths, Clutch Collector's Series Ohio Players Įccentric Soul: Consolidated Productions Vol.
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