It’s only fitting that Khruangbin’s first-ever official live releases would be albums paired with their tourmates: artists whose music they love and admire, friends who’ve become family along the way. Khruangbin’s 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 release 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, this series ignites both sides of the band’s magic: the warm, prismatic feeling of their albums and the bewitching energy of their performances.

Khruangbin has always been multilingual, weaving far-flung musical languages like East Asian surf-rock, Persian funk, and Jamaican dub into mellifluous harmony. But on its third album, it’s finally speaking out loud. Mordechai features vocals prominently on nearly every song, a first for the mostly instrumental band. It’s a shift that rewards the risk, reorienting Khruangbin’s transportive sound toward a new sense of emotional directness, without losing the spirit of nomadic wandering that’s always defined it. And it all started with them coming home.

Ali Farka Touré trekked the world, bringing his beloved Malian music to the masses. Dubbed “the African John Lee Hooker,” one could hear strong connections between the two; both employed a bluesy style of play with gritty textures that elicit calm and fury in equal measure. While the influence of Black blues music prevailed, Touré created a West African blend of 'desert blues' that garnered Grammy awards and widespread reverence.

Texas connection aside (Bridges is from Fort Worth, Khruangbin from Houston), Leon Bridges and Khruangbin make a natural pair: Bridges, the throwback soul man who brings R&B’s past into vivid focus, and Khruangbin, a one-band jukebox whose encyclopedic sense of groove has made them one of the more sneakily pleasurable artists of the 2010s. A companion to 2020 collaboration Texas Sun, Texas Moon is, first and foremost, a mood: dusky, mellow, warm, windows down. The artists can take on Philly soul with a psychedelic slant (“Doris”), mix disco with West African juju (“B-Side”), and play country cadences with ambient, indie-rock warmth (“Mariella”), all with an effortlessness that would make their melting pot state proud.

Khruangbin are no slouches when it comes to the remix. 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. “We write our music to be interpreted; this is another wonderful interpretation of the music,” reassure Khruangbin. “There 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.”

Late Night Tales: Khruangbin is a DJ mix album curated by American psychedelia band Khruangbin for Late Night Tales series, set to be released by Night Time Stories on 4 December 2020. It will include Khruangbin's cover of Kool & the Gang's instrumental tune "Summer Madness". The compilation includes a mixture of various global artists outside of the mainstream music, including South Korean rock band Sanulrim, Belarus band Pesniary, Nigerian musician Maxwell Udoh, and Ethiopian band Roha Band, among others.

Khruangbin has always been multilingual, weaving far-flung musical languages like East Asian surf-rock, Persian funk, and Jamaican dub into mellifluous harmony. But on its third album, it’s finally speaking out loud. Mordechai features vocals prominently on nearly every song, a first for the mostly instrumental band. It’s a shift that rewards the risk, reorienting Khruangbin’s transportive sound toward a new sense of emotional directness, without losing the spirit of nomadic wandering that’s always defined it. And it all started with them coming home.