Khruangbin (the band‘s name translates to engine fly or airplane) create stunning instrumental music that effortlessly mixes Thai funk, vintage psychedelic rock and Caribbean grooves – captivating audiences of all tastes from Houston’s suburbs.
Khruangbin vibes is a subgenre of music characterized by slow, reverb-heavy guitar-forward tracks with exotic yet comfortable grooves, offering listeners musical solace in the form of music that soothes.
Origins
A La Sala is the band’s debut release and marks a departure from past and current influences that shaped its sound, and showcases how they’ve taken inspiration from within themselves to craft something truly distinctive to themselves.
Khruangbin first made their mark through an intricate blend of guitars drenched in reverb and drums marked by an unhurried snare beat – its essence being what sets them apart from other instrumental acts; their music balances delicately between tradition and innovation.
Khruangbin’s name, which translates from Thai as “engine fly” or “airplane,” reflects their love of travel and music from across the globe, but its ten tracks reveal an in-depth journey through Khruangbin’s own world: from dancefloor yearning of Time (You and I) to an homage for bassist Laura Lee Ochoa’s grandfather Dearest Alfred.
Influences
Khruangbin’s sound is defined by an exploration of global music, fusing Thai funk with Jamaican dub reggae and Iranian/East Asian soul in a unique blend that resonates across Houston’s diverse global communities. This distinctive approach to making music is reflective of Houston as the crown jewel of world cultures.
Drummer Donald Johnson and bassist Laura Lee Ochoa share an immense passion for music, listening to and studying how various genres come together harmoniously. However, finding their unique voices is integral to their creative processes.
A La Sala is the result of that reinvention and marks a return to their signature sound: Johnson’s atmospheric drumming, Speer’s hypnotic electric guitar riffs and Ochoa’s funky bass; as well as expanding their musical dialect to incorporate vocals as another instrument. This record marks a transitional phase as they take on new challenges in live shows that push beyond their creative boundaries.
Live Shows
Khruangbin first rose to prominence in 2013 via their appearance on Bonobo’s Late Night Tales mix and subsequent release through its offshoot Night Time Stories label, sparking much discussion as to which genre their music belonged to. Since then, however, their global following and critical praise from sources like Test Pressing, For Folks Sake, and i-D have grown substantially.
Their latest release, A La Sala (meaning “Into the Room”), stands as both an anchor and turning point in their decade-long career: it represents both all they’ve accomplished thus far while pushing creative limits unique to themselves.
A La Sala’s sound reflects its multitude of influences, yet what truly separates them is their incredible level of togetherness as a trio. Questlove describes an indefinable alchemy when certain musicians play together, something Khruangbin certainly brings to the stage.
A La Sala
Khruangbin have established themselves as one of the premier modern retro bands with only four studio albums under their belts, yet their tailored neo-nostalgia has quickly become part of our cultural fabric – playing host to conversations at your favorite coffee shop, the atmosphere in a buzzy new bar or even providing the soundtrack for one of your most-viewed TikTok videos.
Music to accompany an adventure abroad, an evening cocktail under a tiki hut or just relaxing in a hammock is what A La Sala provides. As their fourth studio album and first since 2020’s Texas Sun and 2022’s Ali (both collaborations with Leon Bridges and Vieux Farka Toure of Texas), A La Sala takes the trio back to where they began.
Bassist Laura Lee Ochoa and drummer Donald Johnson excel in quieter settings, creating intricate music that soothes listeners with its gentle sound and invites new ideas to bloom in them. It marks an ideal return to restraint for an act that made its debut during an era of streaming-era excess.
