LAHAR is the new musical work of Bandung power duo KUNTARI, Indonesia. A deeply atmosferic, bone-melting session of ancestral doom sounds delivered by the contemporary Indonesian primal music specialists.
LAHAR is a Javanese term which was adopted in geology to describe a violent type of mudflow or debris flow composed of a slurry of pyroclastic material, rocky debris and water. The material flows down from a volcano, typically along a river valley. Lahars are often extremely destructive and deadly; they can flow tens of metres per second.
The recording is a spontaneous and overpowering composition realised on the occasion of a two-day residency and live session organised through a collaboration between producer Francesco Piro, Artetetra, CLAM and the Masseria Atipica venue during KUNTARI’s first Europe tour in April 2024. The composition was recorded in the special setting of the Masseria’s tunnel of Masseria Atipica, a stone made stable from the 13th century and traditional architecture from the southern Italian Region Apulia. LAHAR celebrates one year of collaboration between these entities.
While distinguished by the usual interplay KUNTARI is known for, a mixture of pure energy and a dynamic touch which provides texture and narrative to such incredible streaks of pulsed rhythm and noises, this work benefits from a ‘longform approach’ giving the composition just enough breathspace to feel like on a rollercoaster. Moreover, the duo alongside producer Piro, tried to study and activate the natural reverb of the cave-like studio-venue in the Masseria. A quite unique ambience allowing them to exploit the convolutions’ overtone that only certain mineral spaces can generate. Lahar incarnates the bold and relentless yet mystical approach to composition typical of the Indonesian duo: a glimpse into an animalesque sonic fractal, expanding Kuntari's sequence of studies on the neverending relationship between man and rhythm.
As Tesla himself, guitar and wind instruments player of the band, conceives of it:
“While in the recording process, I for some reason started recalling many memories from my childhood; an Islamic era during which every single kid had to be active in a local mosque to learn about the religious literature and practice it. I felt left out in that ambience and got bullied for blasphemy everytime i tried to avoid attendance. At the same time, I recall this fun part of taking extra time to practice the Rebana: a small drum made from cow skin which usually accompanies some Islamic rituals. That situation allowed me to memorise the classic set of interlocking patterns the instrument brought in the ritual by hearing it constantly, to the point of learning every drumming motive with no teacher.”
LAHAR is then a masquerade. A human sonic cocoon to shelter oneself from the toxicity of “neighbourly” claustrophobic etiquette in contexts of heavy social codependency. Amidst the brutality of a world of children, music is like a firecracker. This explosion may be small, but make no mistake: it’s rather difficult to tame.
