Bobbie Rendra

EPOS OF OYSTRE — We wrote seven songs, only to realize they form a quiet epic about life and the universe. “GAIA” opens the story with a trembling warning, as if the Earth already senses the age when her beauty will be crushed by our hunger for progress. The journey moves into “NADUR,” a cycle of civilizations repeating the same human stories across centuries. We leap into “STRANGER,” the modern era where boundaries and individualism turn into a social kind of art — the paradox of loud and lonely. Then comes “TURN,” a chapter shaped by sharp twists and the restless surprises of being alive. We slow down inside “THE BALLAD OF LUNAR AND STELLAR,” a quiet space where we face the emptiness within, and learn to fill it from within. The reflection grows deeper through “BILLIONS,” a moment of sheer awe at the beauty that still surrounds this life. The epic closes with the jolt of “SUPERNOVA,” reminding us that the harder we try to be the center of the universe, the closer we drift toward our own collapse. And if @bernadyaribka says “life must go on,” Oystre whispers something else: all of this is a giant loop written by a greater design.

“TURN” will always be one of the reasons I feel genuinely happy as OYSTER’s drummer. It’s got this fun, steep rollercoaster of grooves: from European Dance-Rock to Twee-Pop, and even a surprise twist of New-Wave Salsa (yes, that happened). Musically, it’s just four basic chords repeating themselves during three thematic sessions, but that’s exactly the point: mirroring the lyrics about how life throws sharp turns when we’re driving blind through it all. A quick flashback: when this song was first written, I was still just a self-taught street-drummer who grew up in local jam circles. And for the first time, I had to lock in with Khrisna, one of Cimahi’s finest bassists, who randomly joined the band a few months prior. I was nervous. This guy had played with some serious drummers; and I was... well, a very spirited work-in-progress. But turns out, Khrisna is just as warm as his basslines. He became the cozy blanket that wrapped around every burst of energy from the rest of us. He’d just laugh whenever I slipped on a beat (even on this video). Definitely not the kind of guy you’d cast as the drum teacher in “Whiplash” movie. Honestly, my spirit is always fully recharged every time I remember how this song came to life. “TURN” gave me the confidence to finally speak through my drums (even if my “drumming grammar” wasn’t perfect) because I was surrounded by the maturity of Khrisna’s bass, the genius guitar swaps between Ableh and Andris, and the vocal layers from Ogun that match our (okay, my) perfectionist tendencies. 🎼: OYSTER | @oystre 🎶: “Turn” 🎤: @ogunfakhry 🎸: @siableh 🎸: @andrisoo 🎸: @khrisnaar 🎛️: @raden_bangun 📹: @abayyy.png 📍: @brantasepuluh 🥁: @wincentdrumsticks | @paistecymbals #OYSTERtheBand #AltPop #DanceRock #TweePop #NewWaveRevival #GlobalIndieScene #IndieMusicCommunity #BandFromAsia #AsianIndieVibes #SelfTaughtDrummer #DrummerLife #BassAndDrums #GrooveConnection #MusiciansOfTikTok #IndieMusiciansUnite #AlternativePopMusic #IndieGems #UndiscoveredBands #MusicDiscovery #SupportIndieMusic #TurnYourBeatOn #FromGarageToGlobal #FourChordsAndTheTruth #NotWhiplash #FeelTheTurn #DrummersOfTheWorld #GlobalIndieMovemen

“GAIA” is an impassioned plea to listen, to cherish, and to heal our wounded world before her tears run dry. Modernizations may grow more “masculine”, but it must remain gentle toward nature’s “feminine” sides. #saverajaampat 🌏 🎼: OYSTER | @oystre 🎶: “GAIA” 🎤: @ogunfakhry 🎸: @siableh 🎸: @andrisoo 🎸: @khrisnaar 🎛️: @raden_bangun 📹: @abayyy.png 📍: @brantasepuluh 🥁: @paistecymbals | @wincentdrumsticks From the very beginning of writing “GAIA”, my brain was already doing backflips. The basic rhythm guitar from Rumi Ableh is packed with syncopated accents, played at a tempo you’d find in hard rock, layered over a tricky narrative design: every drum sound I create needs to resonate with the rest of the instruments (vocals included), all working together to paint this haunting picture of a broken, wounded Earth; the goddess Gaia, under relentless attack. The song’s intensity only climbs from there. Ironically, the “softest” part of “GAIA” is actually the chorus. Yes, where most songs peak, ours dips into this eerie calm. Because from start to finish, the underlying thread here is destruction. Outside the chorus, all of us have to walk a fine line: balancing the calculations and expressions, the masculines and the feminines, the order and chaos. “GAIA”. What a beast of a song. Let’s keep playing it, until this body gives out.

Sejak 2006, sejak album “Visible Idea of Perfection” pertama kali menyalakan ruang dengar saya, The SIGIT selalu terasa seperti kelompok yang paham satu hal penting: rock bukan kostum, melainkan nyawa. The SIGIT bisa memakaikan nyawa itu ke busana musikal apa pun, lalu membuatnya tetap terdengar utuh, tetap liar, tetap bernapas, tetap punya gestur dan tekstur yang dicintai semua adrenalin — sambil terus melintasi tren, menyeberangi genre, mengabaikan stigma; seakan tak pernah benar-benar sudi tunduk pada dogma yang susah payah ditanamkan para nenek moyang rock. Di tangan banyak band, identitas musikal kerap menjadi sangkar. Namun di tangan The SIGIT, ia justru menjadi medan bermain. Zat bernama rock menjadi peluru serbaguna untuk segala jenis senjata. Ketika single “Another Day” datang 6 tahun silam, kesan itu semakin mengeras di kepala saya. Lagu itu seperti menegaskan bahwa musikalitas The SIGIT bukan sekadar gaya; di panggung mereka, rock jadi universal layaknya bahasa. Jika ibarat guru, bagi saya The SIGIT bukan lagi ngajarin soal “bermain musik seperti apa”. Dakwah rock The SIGIT ngajarin saya soal “menulis kemungkinan bunyi dengan aksara kita sendiri.” Pada titik itulah saya mulai merasa: The SIGIT memiliki sesuatu yang jauh lebih langka dari sekadar karakter. Mereka punya “font” musikal sendiri, sebuah bentuk huruf sonik yang bisa dipakai untuk menulis teks apa saja. Sementara itu, banyak musisi lain — termasuk saya dalam banyak fase — masih sibuk meminjam font ciptaan orang lain untuk menuliskan diri sendiri. Lalu April 2026 tiba, dan single “Bread & Circus” mengudara seperti pengingat yang matang, tenang, tapi mengendap dalam. Lagu ini tidak sekadar terdengar sebagai rilisan baru. Ia terasa seperti jendela kecil untuk mengintip lebih dalam mindset Kang Rekti dan kawan-kawan; bahwa The SIGIT (pada akhirnya) bukan cuma nama band. Ia mulai terdengar seperti nama bagi suatu DNA musikal. Semacam susunan genetik bunyi yang membuat apa pun yang mereka sentuh tetap memancarkan ciri yang sulit dipalsukan. Di sini, mereka terasa semakin “bermain musik” dalam arti yang paling merdeka, dan justru semakin nyaman untuk berhenti bermain genre.

Let’s trap those inspirations

Some explosions happen in space. Some happen inside us. SUPERNOVA is both. Read the lyrics — they’ll tell you why. #oystre #itsabouttime #supernova #videolyrics #metaphors

Stay dangerous to attract the magic 📷 by @sigueigo

And we, sing. Along. #oystre #supernova #itsabouttime

MUMPUNG VOKALISNYA GA ADA KITA GANTI LIRIKNYA 📦 Lagu “SUPERNOVA” udah bisa didengerin di platform kesayangan yawws 💥💣☄️ 📍 @stayslowbdg 📍 @clmstudio.id #oystre #supernova #itsabouttime #newsong #newrelease

Days to detonation. We’re back in orbit. ‘Supernova’ — October 31st. It’s about time. #oystre #itsabouttime #supernova #halloween #dracula

“It’s About Time” — isn’t just about timing, it’s about “calling”. About realizing that music never left them; maybe it never was theirs to lose. Along with the “explosion”, each beat in “SUPERNOVA” feels like memory returning to muscle… …and the time itself — folding back, whispering: you were always meant to play. 📹 @kimsendy 📸 @unclearviews 🎨 @cuomonkeys #supernova #itsabouttime #oystre

Selama pake IG, ini postingan terpanjang saya soal Oystre. Arsip foto & video belasan tahun kita spill dalam 20 slides. Bunch of memories. Tons of emotions. Huge nostalgia. It’s about time ⏳ SLIDE 02 — Salah satu panggung awal banget Oystre, 2011 silam. Isinya masih Ogun, Ableh, saya, dan Igo. Bawain Incubus, The Temper Trap, Coldplay, dan Radiohead. Sesekali bawaan Mr. Big sama L’Arc~en~Ciel juga. SLIDE 03 — Detik2 menjelang Andris masuk Oystre. Soalnya setiap jamming sama doi di UKM Musik Polban, semua genre masuk. Cociks. SLIDE 04 — Resmi membaptis Andris masuk band Oystre dengan mengisi buku TTS Diva-Diva Gaul edisi Britney Spears dan Cinta Laura. SLIDE 05 & 06— Debut merilis “The Ballad of Lunar and Stellar” ke publik (2011), saat itu dibawain versi full-band. Next, rekam versi full band-nya nggak ya? 😛 SLIDE 07 — Salah satu hal yang paling saya syukuri dari tahun 2011, adalah doktrin Ableh yang bikin saya kesurupan Radiohead — plus hepi banget bisa bawain #Radiobleh bareng Oystre. Ini kami lagi bawain “Jigsaw Falling Into Place”. SLIDE 08 — Khrisna masuk ke Oystre, gantiin Igo, as bassist. Yup, terror dimulai! Drummer jalanan Cipageran tiba2 harus bertandem sama bassist nomor satu Ngamprah Raya. Alhasil, saya lebih akrab sama pressure ketimbang sama Khrisna — kecuali lagi bahas Real Madrid dan minta udud. SLIDE 09 — Tahun 2013, kami lagi ter-Coldplay Coldplay. Apalagi abis nonton DVD Coldplay Live 2012. Gak lama dari situ, lagu “Billions” dibuat. SLIDE 10 — Masuk 2014, Oystre udah rilis 5 lagu di Spotify. Manggung makin serius. Aay (recording producer saat itu) sering ikut tiap kami manggung. Alfhy juga. Ngurah juga. Eh, ada Iwanpopo, jadi additional keyboardist. Kalo menilik karir Popo hari ini (sebagai salah satu produser musik terbaik Indonesia), kok berani2nya ya kami bawa2 dia. SLIDE 11 — Ciee diliput majalah. Diposting @infobdgcom padahal isinya 80% orang Cimahi. SLIDE 12 — Sempet keliling ke beberapa radio. Ini foto pas di OZ atau Ardan ya? Lupa. Ada si Bunga! Dulu kalo ga salah sempet mau jadi manager Oystre yah si Bunga teh. [ LANJUT DI KOLOM KOMENTAR ]