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 "Fifteen Fifty-Three"), West African discos (on "Pon Pón"), G-funk fantasias ("Todavía Viva"), living room dancing moments (the first single, "A Love International"), or even ambient found-sounds (on "Farolim de Felgueiras" and throughout the album) - are ingrained characteristics.

This is who they are! Unique and huge (and growing), ambitious and driven. Khruangbin's aspirations and commitment to playful creativity even extends to A LA SALA's vinyl packages, of which there will be seven distinctive covers and color-sets.

Designed by the band using Marko's multitude of travelog photos, the images are windows from the band's living room onto a set of daydreams, scenes of impossible skies, external glances that illuminate what is going on inside.

Each cover image comes with a matching color vinyl. These too are all about looking out and looking back, in order to better look ahead.