What it sounds like: If Santana’s Abraxas had a hip-hop drummer, or an Erykah Badu album without the vocals.
I know many people in the musical circles I inhabit won’t be familiar with Khruangbin (pronounced KRUNG-bin), a Black-white-Latina (drums/guitar/bass) trio from Houston. I certainly wasn’t until a couple weeks ago, but you better believe I am now. Laura Lee (“Leezy”) Ochoa, Mark Speer, and DJ Johnson are making some of the most groove-centric jams I’ve heard in a long time on A LA SALA, their 4th full-length album (released April 5, 2024).
I have tried for a few days to think of the correct characterization for the musical style I’m hearing on this record, for those not familiar with Khruangbin’s work. It’s (mostly) instrumental. It’s not hip-hop (there are no bars), it’s not R&B, it’s not jam-band, it’s not rock, it’s not funk, though it is pretty funky in places. It’s just smooth.
And it’s positively screaming out to be sampled.
That was my first thought when hearing the record. (Actually, it was the second, after “wait — are there no lyrics on any of these songs?”) A quality producer could pull several beats from A LA SALA as-is and loop them, or they could chop the songs up and get dozens more. Honestly, I’d like to challenge any producers who read this, or MCs that are so inspired, to listen to this project and drop a “Khruangbin x _____” EP. It could be something really special.
Even if you aren’t in the market for some killer samples, definitely give this record a listen. Put it on while you’re driving, or on the subway, or cleaning the kitchen, or cutting the grass, or dancing in la sala. It won’t disappoint.
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