Lair – ‘Ngélar’ album review: A psychedelic exploration through Western Java
THE SKINNY: The art of the album is ever-waning within modern music. The vast majority of released albums are simply a disparate collection of songs with little imagination put into the album as a whole. Every so often, however, a record will come along that can transport you to distant lands, creating a truly unique and captivating listening experience. Ngélar by Lair is one of those albums.
It has been five years since Lair last released an album, 2019’s Kiser Kenamaan, but their sophomore record has certainly been worth the wait. Hailing from Jatiwangi, a district of West Java island in Indonesia, the collective has an innate ability to capture scenes of their hometown through the medium of gloriously psychedelic and soulful tunes. Ngélar is, in essence, a sonic postcard sent from Jatiwangi around the world. Lair are able to effectively imbue their music with the unique sounds of West Java through their incorporation of traditional Panturan Tarling influences, the grassroots art form that is reportedly popular among people within West and Central Java. This influence sets Lair apart from the growing number of artists incorporating funk and soul with heavy psychedelic influences.
A frustrating trend within much of modern psychedelic music, particularly from psych bands hailing from East and Southeast Asia, is that the music is often characterised by a sense of nostalgia for the early psychedelic scene of the 1960s. Contrastingly, Lair seem to be ruthlessly inventive, evoking the old-school of psychedelic rock while incorporating innovative and experimental aspects – particularly discernible through their use of synthesisers. Tedi Nurmanto, the lead guitarist for the group, is arguably the hero of the album, with the staggering quality of his psychedelic riffs becoming increasingly impressive as the tracklisting progresses.
Ultimately, referring to Ngélar simply as a psychedelic album is somewhat reductive. Condensed within the ten tracks of the album are an extensive range of genres, including everything from surf rock to retro soul. The sonic diversity of the album prevents it from ever feeling stale or dull. When viewed in isolation, some of the tracks may feel somewhat lacklustre, but within the context of the album as a whole, they each form distinctive and important chapters within the narrative of Ngélar.
For Fans Of: Corduroy trousers, spending too much money on vinyl, and saying, “You’ve probably never heard of them”.
Concluding comment from Ben’s cat, Jasper: “A perfect soundtrack for basking in a sunbeam and receiving belly rubs.”
Ngélar track by track:
‘Tatalu’: Setting the scene for the rest of the album, the opening track showcases the utter brilliance of Tedi Nurmanto’s guitar playing. ‘Tatalu’ throws you in at the deep end but also creates an unmistakable feeling of excitement over what is yet to come. [4/5]
‘Pesta Rakyat Pabrik Gula’: Mellowing out after the intensity of the opening track, Lair take on a more mysterious, somewhat haunting tone. A hypnotic effort, the track can border on feeling repetitive at points. [3/5]
‘Tanah Bertuah’: From the opening notes, this track has you hook, line, and sinker. Adopting a cinematic quality, the guitar tones within this song are enough to make even Carlos Santana blush. [4.5/5]
‘Hareeng’: Returning to that haunting, eerie atmosphere, Lair affirm their ability to dive from one mood to another without the transition feeling too jarring or unnatural. The song evokes a tranquil journey down a river, all while tripping on acid. [4/5]
‘Boa-Boa’: Taking on a distinctly soulful sound, this foot-tapping track is perhaps the best individual encapsulation of Lair’s sound: relentlessly funky, with an unmistakable psychedelic edge. [4.5/5]
‘Bangkai Belantara’: Continuing to diversify their sound across the record, this song sees Lair embrace their experimental influences. Think Throbbing Gristle – if they were Indonesian and somewhat less scary. [4/5]
‘Kawin Tebu’: A track of two halves: firstly, a stunningly expressive experimental effort, the garage rock guitars take a backseat to the chilling vocals of the group, followed by an almost surf rock-esque conclusion. [3.5/5]
‘Setan Dolbon’: From old-school psychedelia to modern electronic-inspired experimentation, this track is unforgivingly diverse. An initial sonic menagerie of synths gives way to a euphoric celebration that is worryingly infectious. [4.5/5]
‘Gelombang Pemecah Malam’: Viewed in isolation, this track seems to be building to something that never comes. However, within the context of the album as a whole, it provides a fitting interlude from the previous track into the finale. [3/5]
‘Mencari Selamat’: A triumphant finale for an unforgettable album. The title translates to ‘Seeking for Land of Salvation’; I have found mine within the grooves of Ngélar [4/5]
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