Khruangbin’s Mark Speer names his favourite guitar instrumental: “There are no words for his music”
In a world where so many bands fade into the white noise of the background, with a mass of content available at the click of a button, Khruangbin has continued to cut a distinguished figure. Fusing the psychedelic chime of Mark Speer’s Stratocaster, Laura Lee’s narcotic basslines, and DJ Johnson’s appropriately laid-back rhythms, few can claim to have such an individual formula.
Conveying the warmth of the summer sun with their nostalgic sound, which has one foot in the headier countercultural sounds of the 1960s and 1970s, Khruangbin have earned legions of followers worldwide. They burst onto the scene with their 2015 debut album, The Universe Smiles Upon You, which makes a solid claim to be their most dream-like offering.
Since then, the band have continued on their path, drawing on an array of different styles to establish such an impactful sonic world that appeals to both mainstream and hipster listeners. That’s a feat seldom achieved in the contemporary era.
While each member brings something vital to the melting pot of Khruangbin, arguably, Speer’s busy, treble-heavy lines are their sharpest point. Providing the melodic force in lieu of a vocalist with an array of notable harmonies, his technical ability has cemented him as one of the most influential modern players, with a host of imitators emerging in his wake. Drawing on Roy Ayers, Steely Dan, and Kassav, the way the guitarist leans into the stoned essence of the 1970s while remaining authentic is exceptional.
It’s not just 1970s hipsterdom that’s inspired the Khruangbin guitarist. One particularly important area for him is the world of classical Spanish guitar, which provided him with the technical and emotional basis for much of his approach.
When speaking to The Line of Best Fit in 2020, Khruangbin discussed nine songs that inspired them. One of Speer’s choices was ‘Three Marzukas: Adelita’ by distinguished English guitarist Julian Bream, one of the foremost classical players of the last century. Describing the beauty of this composition and Bream’s other efforts, Speer asserted, “There are no words for this music.”
He said: “This is just one song of a suite by a classical Spanish guitar composer. I used to listen to classical guitar all the time as a kid. My Dad really likes Julian Bream, and he’s always had a lot of his music on cassette. So on long road trips, he would put this on, and my brother and I would chill the fuck out in the backseats and go to sleep.”
“It wasn’t until later in my life that I realised that his music was absolutely amazing. Since then, it’s had such an amazing impact on how I view and work in music,” he continued.
Speer concluded: “This tune is a heartbreakingly beautiful melody played on one guitar, with self-accompaniment. It’s all about the space, the beautiful melodies and it’s beautifully played, and that’s, that’s it. That’s what it is. There’s so much space here – there are no words for this music.”
Listen to ‘Adelita’ below.
