Khruangbin’s A La Sala feels like a sunlit road trip through a desert of the mind—minimalist, hypnotic, and effortlessly cool. The Texas trio—Laura Lee Ochoa (bass), Mark Speer (guitar), and Donald “DJ” Johnson (drums)—returns to their roots with this fourth studio album, stripping back the cosmic sprawl of 2020’s Mordechai for a tighter, more introspective groove. Clocking in at 12 tracks, A La Sala (Spanish for “to the room”) invites listeners into an intimate space where funk, surf rock, and global influences swirl like dust motes in a shaft of light.
The opener, “Fifteen Fifty-Three,” sets the tone with Speer’s reverb-drenched guitar dancing over Ochoa’s liquid basslines, while Johnson’s crisp percussion keeps it grounded. It’s vintage Khruangbin: instrumental storytelling that’s less about words and more about mood. Tracks like “May Ninth” and “Hold Me Up (Thank You)” lean into their signature psychedelia, with twangy riffs and subtle tempo shifts that feel like a lazy Sunday afternoon. The standout, “A Love International,” pulses with a rare vocal layer from Ochoa, her voice a soft breeze over the band’s trademark funk—think early Air meets a Tex-Mex cantina.
Khruangbin was nominated for “Best New Artist” at the 2025 Grammys.
What makes A La Sala shine is its restraint. Where Mordechai experimented with lushness, this album thrives in sparsity, letting each note breathe. The production—handled by Speer and Steve Christensen—is pristine, balancing retro warmth with modern clarity. Yet, it’s not without flaws: the back half, with tracks like “Three From Two,” can feel repetitive, as if the band’s formula risks stagnating. Still, “Caja de la Sala” ties it up with a dreamy flourish, leaving you wanting more.
At 42 minutes, A La Sala is Khruangbin at their most distilled—perfect for vinyl enthusiasts or anyone craving a sonic escape. It’s not groundbreaking, but it’s a masterclass in vibe curation.
Spin it, and let the world fade out.
Label: Dead Oceans/Night Time Stories
Release date: April 5, 2024