A step back to better move forward, this is how Khruangbin describes the state of mind of his new album entitled At La Sala. After having multiplied collaborations in recent years, including a fabulous album rereading Ali Farka Touré with his son, the virtuoso Vieux Farka Touré, the group needed to return to the source of its musical desires.
Fifteen Fifty-Three, the first of the album’s 12 tracks, sets the tone. We immediately recognize this almost nocturnal guitar sound, as if coming from afar as it is bathed in reverberation, which plays out clear melodies. He will caress our ears throughout the record, only shaking on rare occasions like on the almost groovy Pon Pon.
Khruangbin doesn’t sing much. We practically only hear the voice of Laura Lee Ochoa who, here and there, adds an almost whispered narration and a few choruses (Todavia Viva). His bass is much more talkative – and eloquent. The most talkative of course remains Mark Speer, a guitarist who has a bit of chatter, but also plays as if he were turning his tongue seven times in his mouth before speaking.
At La Sala can also be listened to a bit like a lively conversation. Very gentle at the beginning, the record picks up tone in the fifth piece. Without hurrying too much, Donald Johnson emphasizes the cadence more. The tone changes from mysterious (Ada Jean) to the disco beat (Tiens moi Up). The most stripped-down pieces (The Little Grays, Farolim de Felgueiras, Caja de la Sala) exude a light nostalgia. Ears accustomed to the Texan trio will find what they are looking for in this return to basics, which sounds like music chill outminus the electro colors.
Excerpt fromA Love International
Ambient rock
At La Sala
Khruangbin
Dead Oceans