Khruangbin - A LA SALA (Limited SOLEIL Edition)
Khruangbin - A LA SALA (Limited SOLEIL Edition)
Khruangbin - A LA SALA (Limited SOLEIL Edition)
Khruangbin - A LA SALA (Limited SOLEIL Edition)
Khruangbin - A LA SALA (Limited SOLEIL Edition)
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Khruangbin - A LA SALA (Limited SOLEIL Edition)


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    Indie Store Exclusive Pressing
    We have 150 copies on SOLEIL Colored Vinyl

    Khruangbin’s fourth studio album, A La Sala (“To the Room” in Spanish), is an exercise in returning in order to go further, and doing so on your own terms. It continues the mystery and sanctity that is the key to how bassist Laura Lee Ochoa, drummer Donald “DJ” Johnson, Jr. and guitarist Mark “Marko” Speer approach music. If 2020’s Mordechai, the last studio LP Khruangbin made without collaborators, was a party record that enhanced the band’s musical reputation far and wide, then A La Sala is the measured morning after. It’s a gorgeously airy record completed only in the company of the group’s longtime engineer Steve Christensen, with minima lover dubs. It’s a window 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.

    The trio’s collective musical DNA, the years spent constructing it in Houston’s local-meets-global cultural stew, ensures the band continues to sound like no one but itself. A cascade of crisp melodies emanates from Marko’s reverb-heavy electric, dancing gently around Laura Lee’s minimalist almost-dub bass triangles, while DJ’s drums serve as the tightened-up pocket and unwavering dance-floor on which all this movement takes place. Yet there’s a freshness to A La Sala’s instrumental interactivity, less concerned with getting further out than going deeper in, a profound desire to celebrate the world’s external wonders. Where prior albums strived towards music’s polyglot edges, such inquiries now sound like beloved intimacies. Here, Khruangbin’s sonic touch-points —whether spaghetti-western film scores (on “Fifteen Fifty-Three”), West African discos (on “Pon Pón”), G-funk fantasias (“Todavía Viva”), living room dancing moments (the first single, “A Love International”), or even ambient found-sounds (on “Farolim de Felgueiras and throughout the album”) — are ingrained characteristics. This is who they are! Unique and huge (and growing), ambitious and driven.

    Designed by the band using Marko’s multitude of travelog photos, the images are windows from the band’s living room onto a set of day dreams, scenes of impossible skies, external glances that illuminate what is going on inside. These too are all about looking out and looking back, in order to better look ahead.


    1. Fifteen Fifty-Three
    2. May Ninth
    3. Ada Jean
    4. Farolim de Felgueiras
    5. Pon Pón
    6. Todavía Viva
    7. Hold Me Up (Thank You)
    8. Caja de la Sala
    9. Three From Two
    10. A Love International
    11. Les Petits Gris

    Please note:

    Due to the nature of making a vinyl record, each record is one of a kind. The vinyl you receive may look different from our photo. Colored vinyl is more prone to surface noise and imperfections.

    All pre-order sales are final