Khruangbin - Mordechai - VINYL LP

It's only fitting that Khruangbin's first-ever official live releases would be double albums paired with their tourmates artists whose music they love and admire, friends who've become family along the way. Khruangbin's 'Live At' series of live LPs traces just one small slice of the band's flight plan through the years it's a taste of some of their most beloved cities, stages and nights. Each comes with a limited-edition unique album cover exclusive for the recording's home turf, just a little something extra for the fans that bring a little something extra. Most of all, Khruangbin's 'Live at' series ignites both sides of the band's magic the warm, prismatic feeling of their albums and the bewitching energy of their performances.'Live at Stubbs' features performances by Kelly Doyle, Ruben Moreno, The Suffers and Robert Ellis and Khruangbin. Album Tracks 1. Woman Trouble (Live at Stubb's) 2. At the Trailride (Live at Stubb's) 3. Don't Bother Me (Live at Stubb's) 4. Nobody Smokes Anymore (Live at Stubb's) 5. Blind Man Can See It / (It's Not the Express) It's the Monaurail [Live at Stubb's] 6. Bin Bin (Live at Stubb's) 7. Friday Morning (Live at Stubb's) 8. Number 4 (Live at Stubb's) 9. People Everywhere (Still Alive) [Live at Stubb's]

Double vinyl LP pressing. The art of the remix has been around for several decades, from the fervid imaginations of JA pioneers like Coxsone Dodd, Duke Reid or King Tubby to the disco enthusiasts of New York, such as Tom Moulton, who bequeathed us the modern iteration of the remix and provided a template from which most remixers still work. Khruangbin are no slouches when it comes to the remix themselves. They've been reworked before, in 2016, with the highly collectible EP on Boogiefuturo. But this time, they're taking it a step further with an album dedicated to the art. Entering the tight-knit world of a Khruangbin song can be a little daunting. They have created this entire universe in which the trio seem to function telepathically in the way the music is composed, arranged and played. To mess with their delicate eco-system can invoke feelings similar to that of an unwanted guest crashing a good-time party. InchWe write our music to be interpreted; this is another wonderful interpretation of the music,Inch reassure Khruangbin. InchThere is something very vulnerable about letting others work on your music. But through the correspondence with the different artists, we gained a bigger connection to the songs themselves.Inch Album Tracks 1. Father Bird, Mother Bird (Sunbirds) 2. Connaissais de Face (Tiger?) 3. Dearest Alfred (Myjoy) 4. First Class (Soul in the Horn Remix) 5. If There Is No Question (Soul Clap's Wild, But Not Crazy Mix) 6. Pelota (Cut a Rug Mix) 1. Time (You and I) (Put a Smile on DJ's Face Mix) 2. Shida (Bella Suite) 3. So We Won't Forget (Mang Dynasty Version) 4. One to Remember (Forget Me Nots Dub)

Khruangbin's fourth studio album, A La Sala (InchTo the RoomInch 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 InchDJInch Johnson, Jr. And guitarist Mark InchMarkoInch Speer approach music. If 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 Sala scales Khruangbin down to scale up, a creative strategy with the future in mind.The 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. Where prior albums strived towards music's polyglot edges, such inquiries now sound like beloved intimacies. Here, Khruangbin's sonic touch-points - whether spaghetti-western film scores (on InchFifteen Fifty-ThreeInch), West African discos (on InchPon PónInch), G-funk fantasias (InchTodavía VivaInch), living room dancing moments (the first single, InchA Love InternationalInch), or even