On Khruangbin's fourth album, A La Sala, the band makes its return to go further, and to do so on its own terms. It perpetuates the mystery and sacredness that form the key to the approach of Laura Lee Ochoa (bass), Donald "DJ" Johnson, Jr. (drums), and Mark "Marko" Speer (guitar). If Mordechai (2020), Khruangbin's last solo album, was a festive record that bolstered the band's reputation worldwide, A La Sala represents a more measured post-party. It is a beautifully airy album, produced with Steve Christensen, the band's long-time engineer, with minimal overdubs. A La Sala narrows Khruangbin's scope in order to expand it, a creative strategy that looks to the future. A cascade of crisp melodies emanates from the heavily reverberated electric guitar, gently dancing around the almost dub-like minimalist bass triangles, while the drums serve as an unshakeable dance floor on which all this movement unfolds. Khruangbin's sonic touches—whether they be spaghetti western soundtracks, West African discos, G-funk fantasies, or even ambient sounds—are anchored features; they are their identity. Unique and huge, ambitious and driven.
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