7 years after the release of Bin Idris’ first ever ‘official’ track (he was releasing it through his soundcloud), “Mahabharata”, the singer/songwriter briefly parted ways with his hazy, slow-building, gibberish-centric songwriting style until the release of Two Songs, comprising, as the title suggest, two tracks: Spirit Whale of the Majestic Ocean, and Ibrahim dan Iblis, releasing two albums in the meantime, which Haikal (which is his real name, Bin Idris is just a mere moniker and a wordplay referring his lineage as Pak Haji Idris’ son, not that you’re expected to know who he is in the first place anyway, it’s intended as a way to honor, and to show how much he respects his father) considers as “pop albums”. The re-release of Mahabharata does not mark any special occasion other than a fulfillment of a task that should have been done much, much earlier. Not 7 years apart. Haikal is a co-founder of Orange Cliff Records and has always been in his role, both as an artist and also the head of A&R (although these past times were quite rough towards him in fulfilling his functions in said roles), and at the start of our journey in 2012, Bin Idris was not in any of our agendas until 2015 when he finally decided that having his own label releasing his very own album was not something to be frowned upon.
The song started as a score for an animation project of a friend of his, and was developed along time as he played, and at the same time, improved the composition. I’ve personally heard him playing Mahabharata in his room for what should have been a mind-numbing number of times, but every performance gave a different air and always had a slightly different touch and I never grew tired of listening to it, although, of course, it would be an entirely different case for a recording of a version of Mahabharata. At the time of its release, Mahabharata was the very embodiment of Haikal’s ego; everything, every process required in recording and releasing the song was done by himself, including mixing the track with what tools and skills he had at that time. The only thing that was not taken into account was the mastering process, aside from the cover art which was obviously taken from the internet for the sake of being thematic without too much effort. The 20-minutes song is a perfect representation of what Bin Idris was (or, is) like, up until the very detail of him twisting the dryer of his beaten-down acoustic guitar and and his cheap acoustic pickups mid song: a complex-but-not-troubled fuck-all prodigy. This release might just be seen as merely putting out a 7-year-old recording after giving it a remastering treatment, but it is way more than what can be perceived by one’s eyes, it is a personal, and intimate homage both for a dear friend of ours and his very first published work as its own entity, and it deserves another nudge, which, at this time, a digital release through digital streaming platforms, and, in the near future, a small-run tape cassette format as usual, which we will announce accordingly.
(Anindito A, Orange Cliff Records)