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.  By the summer of 2019 the Houston group—bassist Laura Lee Ochoa guitarist Mark Speer drummer DJ Johnson—had been on tour for nearly three-and-a-half years playing to audiences across North and South America Europe and southeast Asia behind its acclaimed albums The Universe Smiles Upon You and Con Todo El Mundo. They returned to their farmhouse studio in Burton Texas ready to begin work on their third album. But they were also determined to slow down to take their time and luxuriate in building something together.  Musically the band’s ever-restless ear saw it pulling reference points from Pakistan Korea and West Africa incorporating strains of Indian chanting boxes and Congolese syncopated guitar. But more than anything the album became a celebration of Houston the eclectic city that had nurtured them and a cultural nexus where you can check out country and zydeco trap rap or avant-garde opera on any given night.  In those years away from home Khruangbin’s members often felt like they were swimming underwater unsure of where they were going or why they were going there. But Mordechai leads them gently back to the surface allowing them to take a breath look around and find itself again. It is a snapshot taken along a larger journey—a moment all the more beautiful for its impermanence. And it’s a memory to revisit again and again speaking to us now more clearly than ever.