{"product_id":"khruangbin-a-la-sala","title":"KHRUANGBIN - A LA SALA","description":"\u003cp\u003e\u003cspan style=\"color: #ff0000;\"\u003e\u003cstrong\u003eCD\u003c\/strong\u003e\u003c\/span\u003e \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eKhruangbin\u003c\/strong\u003e’s fourth studio album, \u003cem\u003eA LA SALA\u003c\/em\u003e (“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.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIf 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 minimal overdubs. It’s a window onto the bounties powering Khruangbin’s vision, a reimagining and refueling for the long haul ahead. A LA\u003cbr data-mce-fragment=\"1\"\u003eSALA scales Khruangbin down to scale up, a creative strategy with the future in mind.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe 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. \u003cbr data-mce-fragment=\"1\"\u003eWhere prior albums strived towards music’s polyglot edges, such inquiries now sound like beloved intimacies. Here, Khruangbin’s sonic touch-points —\u003cbr data-mce-fragment=\"1\"\u003ewhether 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\u003cbr data-mce-fragment=\"1\"\u003echaracteristics. This is who they are! Unique and huge (and growing), ambitious and driven.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eKhruangbin’s aspirations and commitment to playful creativity even extends to A LA SALA’s vinyl packages, of which there will be seven distinctive covers and color-sets. 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 daydreams, scenes of impossible skies, external glances that illuminate what is going on inside. Each cover image comes with a matching colour vinyl. These too are all about looking out and looking back, in order to better look ahead. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Dead Oceans","offers":[{"title":"CD","offer_id":47695151268185,"sku":"SDZ-19504","price":13.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/files\/Khruangbin_-_A_La_Sala_-_CD_-_2024.jpg?v=1705424574","url":"https:\/\/spindizzyrecords.com\/products\/khruangbin-a-la-sala","provider":"Spindizzy Dublin","version":"1.0","type":"link"}