Khruangbin on their Best New Artist Nomination

Summary

Podcast Summary: All Of It – Khruangbin on Their Best New Artist Nomination

Podcast Information:

• Title: All Of It
• Host: Alison Stewart (filled in by Kate Hines for this episode)
• Description: ALL OF IT is a show about culture and its consumers, aiming to engage thinkers, doers, makers, and creators in discussions about the cultural landscape.

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Episode Overview

In this episode of All Of It, aired on December 20, 2024, host Kate Hines engages in an insightful conversation with the members of Khruangbin—Laura Lee, Mark Speer, and DJ Johnson—regarding their Grammy nomination for Best New Artist. The discussion delves into the band's decade-long journey, their latest album "A La Sala," creative processes, and the dynamics of working as a trio without external collaborators.

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1. Grammy Nomination and Band's Reaction

Timestamp: [00:25] – [02:19]

Kate Hines introduces Khruangbin and their ironic Grammy nomination for Best New Artist, highlighting their long-standing presence in the music industry with four studio albums and significant collaborations.

Key Points:

• Irony of the Nomination: Despite being active for over a decade and having released multiple albums, Khruangbin receives their first major industry recognition.
• Band's Perspective: Laura Lee reflects on the definition of being a "new artist," emphasizing that newness is relative to the listener's discovery.

Notable Quote:

• Laura Lee [01:23]: “When does an artist become an artist anyway?... it’s just new to whoever decides it’s new.”

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2. Perception as New Artists After a Decade

Timestamp: [01:23] – [02:19]

The conversation explores how the band members handle being labeled as "newcomers" despite their extensive experience and body of work.

Key Points:

• Mark Speer's Response [01:59]: Acknowledges the unique nature of the nomination and remains open to embracing it without feeling out of place.

Notable Quote:

• Mark Speer [01:59]: “I consider this to be kind of an interesting nomination. I’ll take it.”

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3. Use of Foreign Languages in Music

Timestamp: [02:16] – [04:15]

Discussion centers on the band's use of various languages in their album titles and songs, reflecting their multicultural influences.

Key Points:

• Creative Process: Laura Lee explains that incorporating foreign languages, like Spanish, enhances their creative expression and resonates with their diverse musical appreciation.
• Avoiding Language Barriers: Mark Speer emphasizes the importance of making their music accessible by blending familiar phrases from different languages.

Notable Quotes:

• Laura Lee [02:33]: “Language is a part of our creative process now... we appreciate, like, a non-native speaker pronunciation of different languages.”
• Mark Speer [03:19]: “The more different words you can add that are familiar to another listener, the better.”

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4. Incorporating Nature Sounds and Field Recordings

Timestamp: [04:15] – [08:36]

Kate Hines highlights the distinctive nature sounds and field recordings in "A La Sala," prompting the band to discuss their recording techniques and environment.

Key Points:

• Field Recordings: All sounds in the album are self-recorded, primarily at their barn studio, except for this record which required a different approach.
• Shift from Barn Studio: Due to logistical reasons and Laura Lee’s pregnancy, the band recorded outside the barn, incorporating pre-recorded field sounds to maintain their signature ambiance.
• Intentional Intimacy: The band aimed to preserve the natural soundscape despite the change in recording location, creating a more intimate and immersive listening experience.

Notable Quotes:

• Alison Stewart [05:35]: “We actually didn’t get to record this record at the barn... but we wanted to get back to that.”
• Alison Stewart [06:22]: “There is a level of intimacy that is inherent in the project.”

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5. Shift in Recording Environment Due to Pregnancy

Timestamp: [06:20] – [07:51]

Laura Lee discusses the reasons behind not recording at the barn for the latest album, attributing it to her pregnancy and the need for a more convenient setting.

Key Points:

• Comfort and Logistics: Being eight months pregnant, Laura Lee preferred the proximity and amenities of the city over the secluded barn.
• Impact on the Album: This shift influenced the album's production, leading to a more controlled and comfortable recording environment.

Notable Quotes:

• Laura Lee [07:25]: “I was eight months pregnant, and I just felt more comfortable being close to all of the things that a city provides.”

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6. Album Composition and Band Dynamics

Timestamp: [07:51] – [14:37]

The band reflects on the compositional changes in "A La Sala," highlighting the absence of external collaborators and the resulting intimate dynamics.

Key Points:

• Solo Trio Effort: This is the first album created solely by the three members without featuring guest artists.
• Creative Focus: Freed from scheduling and managerial complexities, the band concentrated on their internal synergy, leading to more exploratory and intricate compositions.
• Challenges and Growth: Laura Lee shares that the album-making process was challenging yet rewarding, strengthening their bond and creative excitement for future projects.

Notable Quotes:

• Alison Stewart [13:17]: “We just wanted it just be us.”
• Laura Lee [13:36]: “I think we're closer than ever right now... it's family.”

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7. Deep Dive into Specific Tracks

"Pon Pon"

Timestamp: [08:36] – [12:10]

The band discusses the inspiration and creative process behind the track "Pon Pon," focusing on its rhythmic elements.

Key Points:

• Drum Solo Interpretation: DJ Johnson explains the origin of the counting in different languages at the song's end, which adds a multicultural layer to the rhythm.
• Impact of Counting: The initial muting of the counting removed a crucial element, leading the band to retain and adapt it creatively.

Notable Quotes:

• DJ Johnson [08:52]: “We decided to keep it in, but twisted by making the counting in different languages.”
• DJ Johnson [11:22]: “If people actually lined up what I'm actually doing to an actual metronome, it fluctuates just like any other human being.”

"Three from Two"

Timestamp: [14:37] – [18:06]

Exploration of the track "Three from Two," its meaning, and the personal experiences influencing it.

Key Points:

• Title Significance: The name symbolizes the creation of something new from the union of two individuals, reflecting themes of love and family.
• Personal Influence: Laura Lee connects the song to her pregnancy, infusing personal narratives into the music.

Notable Quotes:

• Alison Stewart [15:37]: “There’s a special moment when a man and a woman love each other. When the math becomes where you get three things out of two things.”
• Laura Lee [16:12]: “Motherhood is giant, you know, it’s profound. And I couldn’t escape how much it impacted this session for me.”

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8. Overall Feel and Artistic Vision of "A La Sala"

Timestamp: [17:16] – [18:47]

The band discusses the intended atmosphere of "A La Sala," aiming for a balance between intimacy and surrealism.

Key Points:

• Room Record Concept: The album is designed to feel both cozy and otherworldly, akin to experiencing music in a living room with a surreal twist.
• Album Art: Reflects the duality of a familiar interior space juxtaposed with a surreal, elevated exterior view.

Notable Quotes:

• Alison Stewart [18:03]: “It should be both very intimate and cozy and comfortable and familiar, but also kind of surreal in this way.”

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9. Upcoming Shows and Connection to Texas

Timestamp: [18:47] – [19:51]

DJ Johnson shares excitement about their upcoming "Homecoming Dance" shows in Texas, emphasizing their strong ties to the state.

Key Points:

• Texas as Home: Expresses love for Texas and the significance of performing in their home state and city.
• Community Connection: Highlights the importance of playing for family and friends, reinforcing their roots.

Notable Quotes:

• DJ Johnson [18:57]: “Texas is home. There’s no place like it... excited to come home to our home state.”

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10. Conclusion and Final Performance

Timestamp: [19:15] – [20:54]

Kate Hines wraps up the interview and concludes the episode with a performance of "Le Petit Gris," leaving listeners with a finale that encapsulates the album's essence.

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Final Thoughts

This episode of All Of It provides a comprehensive look into Khruangbin's artistic journey, the challenges and triumphs of their latest album, and the deep-rooted connections that sustain their music. Through candid discussions and personal anecdotes, listeners gain a profound understanding of what makes Khruangbin a standout act deserving of their Grammy nomination.

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Notable Quotes Summary:

• Laura Lee: “I love plenty of old albums that are new to me, so I'm glad that we still feel new, I guess.” [01:23]
• Mark Speer: “I consider this to be kind of an interesting nomination. I’ll take it.” [01:59]
• DJ Johnson: “If people actually lined up what I'm actually doing to an actual metronome, it fluctuates just like any other human being.” [11:22]
• Alison Stewart: “It should be both very intimate and cozy and comfortable and familiar, but also kind of surreal in this way.” [18:03]

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This detailed summary encapsulates the essence of the episode, providing an engaging and informative overview for those who haven’t listened to it.

Transcript

[Alison Stewart]

Listener support, WNYC Studios.

[Kate Hines]

This is all of it. I'm Kate Hines filling in for Alison Stewart. And no, that's not the usual show jingle. It's a song from A La Sala, the latest album from the band Krungbin, who were recently nominated for a Grammy Award for Best New Artist. It's kind of an ironic nomination that's been a long time coming. The Texas trio has been performing together for more than a decade. They've released four studio albums along with collaborations from artists like Leon Bridges and Childish Gambino. They've also sold out Radio City twice. Now they're finally getting their due from the Recording Academy. And we've got all three members of Krungbin here with us. Laura Lee, Mark Speer, and DJ Johnson. Here's my conversation with Krungbin. Laura, A La Sala is your fourth studio album and you guys have been releasing music for a decade. So how are you handling the idea of being called newcomers to the music industry?

[Laura Lee]

And I've had to think about this because it's come up a few times, but I sort of think, when does an artist become an artist anyway? Or, you know, sort of like, what is the starting point? You know? And in that sense, it's just new to whoever decides it's new. You know, if you discovered it yesterday, it's new to you. I love plenty of old albums that are new to me, so I'm glad that we still feel new, I guess.

[Kate Hines]

Mark, have you felt like you've had to reintroduce yourself in some way after this nomination?

[Alison Stewart]

No, I consider this to be kind of an interesting nomination. I'll take it. In no way do I feel like.

[Kate Hines]

A new artist in this game after a decade together.

[Alison Stewart]

Yeah, no, right.

[Kate Hines]

A La Sala is a Spanish title. There are other songs with Spanish titles, and then there's English, there's French, there's Portuguese. How do you think of language in this way? What makes you want to use foreign languages in your naming?

[Laura Lee]

I think it feels like language is a part of our creative process now. It started with Spanish because it's a language that I speak a little bit of and we all listen to music and in other languages and not only appreciate the ability to listen to songs where you don't necessarily know what they're talking about, but we also appreciate, like a non native speaker pronunciation of different languages. There's something really beautiful and naive about that, and I think we weren't afraid to dig in to that. But, Mark, you have other feelings about this I'm sure.

[Alison Stewart]

I think the first record was mainly instrumental, aside from some songs that were in English. But because of that, I feel like it kind of had access to more people because there was no language barrier, so people could appreciate what it was, no matter what language you spoke. And as we started to add more words, like, I didn't want the words to become a language barrier, to become a barrier to the music spreading to the people who want to hear it. So I feel like, well, the more you can add, the more different words you can add that are familiar with to another listener, the better. Know instead of just being an instrumental band and letting the music talk for itself, just, you know, tossing in some familiar phrases and some familiar words that we picked up along the way from different friends across the world.

[Kate Hines]

The album begins with some nature sounds, and they're especially obvious in the transition between the first track and the second. And I want to play a clip from that part of the album. So we're going to listen now to 1553 and the transition into May 9th.

[Laura Lee]

Wait for me to come.

[Kate Hines]

So I heard birds. How and where did you capture those sounds, Mark?

[Alison Stewart]

All the sounds are recorded by us.

[Kate Hines]

Really?

[Alison Stewart]

Yeah, yeah, yeah. We go. And I mean, probably what you're hearing, like I said, because there's the zoom thing. I don't really know exactly what you heard, but I'm pretty sure that all those sounds were recorded actually at the farm, like at the barn where we record most of our stuff. We actually didn't get to record this record at the barn.

[Kate Hines]

Yeah, this was the first one you hadn't recorded at the barn, Right?

[Alison Stewart]

That's true, yeah. So we had to do things to kind of bring the barn to us. And Mordecai, our last studio record, did not have any of the field recordings on it, but every other record that we put out do. And I wanted to kind of get back to that because I really, really like that.

[Kate Hines]

What does it do for you?

[Alison Stewart]

Well, we don't really like recording in. In studio environments because of how quiet it is. Like, it's unnaturally quiet. And so you feel the need to fill up every. Every space with a note or something. But when you record out in the barn, there is no actual quiet. I mean, it's quiet, but there's always the wind or the rustling of the grass or some birds or some bugs or something. So there's always something happening. And I really liked having that. So when we were recording this record, we actually had a feed into our headphones that was just Field recordings that we had made to kind of, you know, put us at home, so to speak. Right. And a lot of that stuff ended up being on the record as transitional moments. I think it really puts the music in a place and helps the listener find a place for themselves inside of that.

[Kate Hines]

Why did you decide to not record this album at the Barn?

[Laura Lee]

That was semi on me. I was eight months pregnant, and I just felt more comfortable being close to all of the things that a city provides. The barn is sort of in the middle of nowhere, and logistically, it just sort of made more sense.

[Kate Hines]

Mark, you produced this album. What is something that sounds different on this album because it wasn't produced and recorded at the barn?

[Alison Stewart]

I think. I mean, to me, it sounds very similar to the first record sonically, or the second record even. It's more up to me about, like, how we compose the songs. I feel like they're much more. I think there's just more things going on and more through. Through composition and more chances taken and more sounds explored. Even if it's just us three, this is the first record, actually, that it is just us three. And there's no guests, there's no extra folks. It's just. It's just us. And so there is a level of intimacy that is inherent in the project.

[Kate Hines]

I want to talk about that, but I want to get to play another song right now. Let's listen to Pon Pon, and I'd love one of you, maybe dj, to tell me something about this track that you want someone to listen for.

[DJ Johnson]

Yeah. The counting at the end of the song came about because I was trying to do, I guess, my interpretation of what a drum solo would be, even though I don't consider myself a drum soloist or even a drummer at this point. But I had Laura Lee kind of counting throughout the process so that I could keep time. And when we listened to the playback, once we muted her counting, we kind of missed it. So we decided to keep it in, but twisted by making the counting in different languages.

[Kate Hines]

Okay, let's listen to Pon Pon. That was the song Pon Pon. It is off of Crungbin's latest album called A la Sala. And dj, I want to get back to something you just said about not considering your yourself a drummer. We went back to your tiny desk concert video from 2018 and noticed a theme in the comments, and I'll just read a few of them. This drummer has never been in the wrong place at the wrong time. This drummer tells the sun exactly when to Rise every morning. Time is a construct, and this drummer constructed it. I come back to this video from time to time to set up my watch. And that's just a sampling of it. So what made you say you don't consider yourself a drummer? It seems pretty clear you have a strong sense of rhythm.

[DJ Johnson]

I'm very flattered that that common thread has made it into Internet meme culture. But, yeah, as far as timing, say, I think if people actually lined up what I'm actually doing to an actual metronome, it fluctuates just like any other human being. And my goal is to. If I start a song a certain way or at a certain tempo, I just want to finish in the same area or ballpark. And I do spend time working very hard at that, but it's by no means perfect at all. But like I said, I am flattered by what it's become.

[Kate Hines]

I'm speaking with Laura Lee, Mark Speer and DJ Johnson. They're the trio behind the band Crungbin. Their latest album is called A La Sala. Thanks so much for joining us. I wanna keep talking about something that you mentioned, Mark, a little earlier, that this is the first album where it's only the three of you and you're not working with collaborators. And you've collaborated in the past with singer Vu, Farkha Toure, Leon Bridges, you've done songs with Childish Gambino. Why was it only the three of you this time?

[Alison Stewart]

I do enjoy collaborating with different artists. The downside of that is that now you have to deal with other people's schedules, and not just the actual artist schedule, but their handlers and companies and management and agents and all this kind of stuff down the line. And we just didn't want to deal with any of that. We just wanted it just be us. This record was not the easiest record to make either. And in those cases, sometimes it's best if we just buckle down and get to it, you know?

[Kate Hines]

So you kind of pared away the extraneous noise and were able to.

[Alison Stewart]

Exactly how did that exactly. Yes.

[Kate Hines]

Did that change the dynamic between the three of you? Did that seem to affect lasting change? Like, how did you come out of that?

[Alison Stewart]

I think it felt very natural and comfortable to me.

[Laura Lee]

I think we're closer than ever right now. I think that happens with every passing moment that you spend together. But certainly the album making process is always challenging. And you come out the other side with rose tinted glasses because you made this thing that. That now becomes this sort of living, breathing being all onto its own. That other people listen to and have attachments to. And the album is this beautiful thing that lives forever. But the actual experience, making it is. Is hard. And there are magical moments in between, but it's challenging. And every time I'm inside of it, I'm like, oh, yeah, I forgot about this. Because, you know, the next time it's time to write, I'm so excited. I can't wait to go back in the studio. I can't wait to write with you guys. And then it's like, oh, no. But it's family. You know, that's the dynamics of being in a band. It's a beautiful thing.

[Kate Hines]

Well, let's listen to another song. We've been talking about the three of you as a trio, so let's play the song three from two. What's behind the name of this song?

[Alison Stewart]

There's a special moment when a man and a woman love each other. When the math becomes where you get three things out of two things.

[Kate Hines]

Sometimes when. Man, I love this. So there are obvious. Laura talking earlier about the pain of making a record. There were obvious allusions to childbirth. That sounds a little bit like what you're talking about now.

[Alison Stewart]

That's precisely what I'm talking about. Look, I got the illusion I was eight months pregnant.

[Laura Lee]

Yeah. I was hesitant to sort of put my own experience, my personal experience onto the record because the record is all three of our experiences. But they both reminded me that that's part of. That's part of who we are is, you know, incorporating each of us. And motherhood is giant, you know, it's profound. And I couldn't escape how much it impacted this session for me. And it was a really. That song, to me, is instrumental storytelling that I love between us. And that's what it felt like to.

[Kate Hines]

Me on this album. The songs feel a little bit more laid back than on previous albums. How did that change what you needed to focus on, or how did it open up what you could focus on? I realize that sounds a little nebulous, but, you know, Laurie, you talking about going into this pregnant. What was the feel you were going for when you were recording?

[Laura Lee]

There's really not an intention of feeling. It's. We really kind of go in and throw stuff at the wall and see what sticks. There were certainly more uptempo songs that were thrown around during the session, but this is what that album or that session became. I always. The first song that we knew was going to make the record was the last song on the record called Le Petit Gris. And because we knew that song was going to be on the record. The rest of the songs had to be able to fit that one. And. And it wasn't. It wasn't our party record.

[Kate Hines]

What do you think of it as?

[Alison Stewart]

It's the room record. It's the record you play in the.

[Kate Hines]

Room, you know, your living room.

[Alison Stewart]

Yeah. It's that it should be both. Like, my intention in this is it should be both very intimate and cozy and comfortable and familiar, but also kind of surreal in this way. And that's reflected in the album art that we made, where it's essentially a view from an interior of a room. But what you're seeing outside is something that you would see from about 10 to 30,000ft up. So it's a flying room, which itself is pretty surreal.

[Kate Hines]

I know we have to leave it there for time, but I just wanted to quickly ask, the other day you announced a run of shows in Texas next year that you're calling Homecoming Dance. What do you like about playing in Texas?

[DJ Johnson]

I love Texas. Texas is home. There's no place like it. And very excited to come home to our home state and also our home city included in that. And plan for all our family and friends.

[Kate Hines]

I've been speaking with Laura Lee, Mark Speer and DJ Johnson from the band Krungbin. Thank you so much for joining us today.

[DJ Johnson]

Thank you, thank you, thank you.

[Kate Hines]

I really appreciate it. Let's go out on the song Le Petit Gris.

[Alison Stewart]

Sa.

[Kate Hines]

And that was Crumbin with Le Petit Gris from their latest album A la Sala. The band is nominated for a Grammy for Best New Artist. And that's all of it. I'm Kate Hines in for Alison Stewart. Alison will be back on Monday and she'll be talking holiday etiquette, how to find an organization to volunteer for, and wants to know what you are grateful for this year. Thanks for listening. We're grateful for you. Alison will meet you back here next time. Have a great weekend and happy winter solstice.

[Ira Flatow]

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