jeudi 29 mars 2012

INDRA: Interactive Play (The Essential) Vol. I (2011)

"Interactive Play is a beautiful compilation of titles lost in the erosion of time..."

1 Sequence (from Kingdom of Light) 2:12
2 Beduins and Camels (excerpt from Tales from Arabia) 3:38
3 Colosseum (excerpt from Colosseum) 5:37
4 Prophet (excerpt from  Plenitude) 5:21
5 Clairvoyance (from Self Game) 5:31
6 Malini (excerpt from Kingdom of Light) 2:57
7 Dynamic Trance (excerpt from Magic Collection) 2:40

8 Higher (excerpt from Self Game) 3:22
9 Up-to-Date (excerpt from Self Game) 4:03
10 Coming in the City (excerpt from Maharaj) 5:13
11 Temple (excerpt from  Plenitude) 3:38
12 While in Oz... (Bonustrack recorded in 2007) 24:24

EAGLE MUSIC EMCD0312011 68:35

Indra's career is doing great and knows a very considerable increasing popularity. Over the years, albums and concerts, the Rumanian synthesist has collected a legion of fan which devoured his discography with passion, requiring from the poet of Hindus' incantations that it dusts his archives to hear his first works. A request that Indra has fulfilled with the reeditions of Turning Away, Kingdom of Light, Parallel Time, Plenitude and Cosmic Sound. Except that the other recordings suffer from the wear of time. They are partially, otherwise completely, destroyed or impossible to reedit. Interactive Play (The Essential) is a compilation which groups exactly some fragments of melodies that Indra managed to recover from these recordings lost in the magnetic erosions of audio tapes. If the quality of the sound varies, that of the compositions demonstrates a very beautiful progression of Indra who parades his influences to finally master them and find his identity in the breaths rhythms and ambiances which are enlace to make room to melodies which are the core of his sibylline approaches.
Indra's musical caves open with "Sequence", from the album “Kingdom of Light”, and its drops of metallic ions which fall in a reverberating pond, moving the caustic waves which insufflate the life to a delicate iridescent harmony. All in contrasts, "Beduins and Camels" offers its arpeggios pinched in the strings of a celestial harp which flow in the vapors of Arabic violins on a heavy bass line of which the threatening notes oscillate as on Pink Floyd's introduction on One of These Days. It’s heavy, powerful and deafening with fine nuances in the strength of the sound that some noble orchestral arrangements wrap of an Arabic veil. Veils which also enfold the swirling rhythm of "Colosseum" and its polyformic sequences which crisscross in a rhythmic chassé-croisé wrapped up by enveloping stratas. It’s a rhythm which reminds me strangely the claustrophobic atmospheres of Remy and Klaus Schulze which hide in a beautiful morphic melody dominated by a melancholic piano and angelic choirs. "Prophet" continues to exploit the dark and nightmarish moods with an intro paved by pantings of synth which measure pads with tones of organ. Without sequences the rhythm is drew by staccato knocks of synth which crisscross with lovely modulations in the movement. It’s a well crafted track which reminds me "Sequence" due to creative approach. "Clairvoyance" is a very charming melody where the dexterity of Indra on piano makes no doubt. The limpid notes flutter and flirt with innocence near fine lines of flutes, at the edge of the caustic resonances which encircle this cosmic melody of an aura of malevolence. The beauty and the beast, the day and night seized in a so short lapse of time! "Malini" is a wonderful title from the “Kingdom of Light” album. The short extract proposed reveals the net influence of Schulze on Indra. As quick as lightning, "Dynamic Trance" twirls of a sequential approach sits on a bass line fed with wild undulations and synth layers which undulate with the strength of winds. The rhythm is fiery and the approach reminds me a kind of crossing between Space Art and Edgar Froese with very vintage synth solos and cosmic tones as well as envelopes of Mellotron which free some thick clouds of astral choruses. A night-melody which also recalls the musical poetries of Bertrand Loreau, "Higher" flows with its melancholic chords which dream in the sheets of mist and pillows of twinkling feathers. In spite of a sound which has badly aged, one can’t hide neither the beauty and nor the sensibility of this title which floats on stars pushed that it is by the mists of Venus.
Another extract from the “Self-Game” album, "Up-to-Date" coos with the same melodic fluid as "Clairvoyance" and "Higher". Chords skip with candour on synth lines to silky tones. If some sing, others flute over this pact of sequences which pound according to their resonant and limpid tones, clicking and resounding with the duality of their harmonies. "Coming in the City", from the “Maharaj” album, is another small jewel on this Alibabic collection which is Interactive Play Vol. I. It’s a mesmerizing track which lies beneath a minimalist structure as only Indra knows how to decorate them with insertions of tones as attractive as unexpected. Fine tams-tams, with a kind of peak-wood tones, initiate the intro. Strikings of xylophones to tones of glass are dancing around these tams-tams, while the bows sway the hypnotic rhythm which draws the mainline of "Coming in the City" which is flooded by the massive arrival of the percussions' random knocks. Enchanter the rhythm limps with its alloy of percussions and its superb orchestral arrangement up to the notes of a surprising acoustic guitar which does court to a flute, parading all the knowledge of Indra to draw ambiances as solitary as poetic on evolutionary minimalist structures. After the waves as well as the abstruse and iodized tones of "Temple", the sequences which alternate of their muffled strikings, shaping the sequential marathon of "While in Oz...", to go astray in the madness of the xylophone strikings, brings us back into a more contemporary era of Indra. The intro swarms with arrhythmic palpitations which pulsate in all directions while a stroboscopic line waves and opens the rhythm to percussions which hammer a heavy and lively tempo, near a techno trance style, before being out of breath and caressed by the astral waves of a lyrical synth. A singer and dreamer synth, of which the iridescent layers float and wave such as the magnetic vocalises of the cosmic mermaids before the rhythm takes back its rights with percussions which resound on echoing pulsations of an irregular flow. A superb synth wave wraps this rhythm with so much hold that it seduces its ardour. But the pulsations escape and dig between two realities, roaming in an ambiance of space before bursting in a passage of rotary trance where everything pulses and swirls in a movement imprinted by invariability. And "While in Oz..." moderates the heats of its pulsations in the dins of an illusionary void at around the 13th minute, with synth waves which float in an oblivion fed by eclectic lamentations, cosmic breezes and intergalactic disturbances. A bad patch of a long sequential marathon which finds a 3rd breathe, near the 17th minute, with increasing sequences of which the lithe tones are melting to those of glass to skip in all senses under the breaths of a synth which widens its morphic melody until the dawn of its last ochred breaths.
Interactive Play (The Essential) Vol.I is a beautiful compilation of titles lost in the erosion of time which will undoubtedly thrill the fans of Indra. As for me, it allowed me to discover the vestiges of an album which seems to me very interesting; Self-Game. It’s a pity that it’s seems impossible to reedit it. And the bonus track is an excellent complement. Far from clashing in regard to the whole compilation, it’s rather representative of the rhythms, ambiances and melodies which decorate this first anthological phase. While respecting the sequenced structures that Indra used at that time "While in Oz..." also reveals the evolution of the Rumanian synth man in his rhythms and ambiances with nuances in his structures which distance the Indra of nowadays from his initial influences.

Sylvain Lupari (2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:
* If you want to know more and discover the musical world of Indra, here is his website:

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