lundi 2 avril 2012

INDRA: Matangi (2012)

"Matangi is a meditative album where the soft rhythms progress slowly with fine crystalline sequences..."

1 The Sound of Magic 26:47
2 Wonder Spell 28:24
3 Aqua Fortis 23:21

EAGLE MUSIC: EMCD033/2012 (78:32)

Matangi is the 9th Great Cosmic Power of the Hindu tantric tradition. She is the Goddess of inner thought. It’s also the 9th album of the Tantric Celebration series that Indra undertook back in 2006. A series on which the Rumanian synthesist didn’t work on since the last 18 months and which nevertheless hasn't lost anything of its connecting thread with a very beautiful album where the serenity of Indra is always transposed on fine electronic minimalist structures worth of the best ethereal Berlin School. Following the precepts of its concept, Matangi is a meditative album where the soft rhythms progress slowly with fine crystalline sequences which spin within angelic mists and voices. The album is composed of 3 titles, which only one is mainly ambient, where the rhythms unique to the signature of Indra are caressed by synths from which the harmonious breaths become more and more impregnated by the romanticism of Vangelis.
Filled by mysticism and built on rhythms and ambiances with fine seraphic permutations, "The Sound of Magic" begins its cerebral odyssey with crystalline keys which swirl and shape a bewitching oniric melody. These keys are subdivided and scatter their harmonies which cling, together with ethereal choirs, to fine chimed snakes, espousing sequenced forms which are crisscrossing in a beautiful harmonious maze on a light, melodic and lyrical rhythm. Mixing tones and playing on harmonious nuances, Indra weaves a garden of meditative serenity where the tranquility of the psalms and the harmony of the twinkling sequences become disturbed by a line molded in a tone of bass which pierces the waddle of these keys to wave in zigzag towards the 2nd phase of "The Sound of Magic". This lonely sequential line makes spirals, shaking its resounding chords which hiccup of a hopping and shuddering rhythm. A fluid rhythm which winds under ochred breaths, bringing back the remains of sparkling chords which gleams over this immense dislocated stroboscopic snake and where its race ends in the ambient territories of "The Sound of Magic". We are in the 13th minute and the breaths of synth to Vangelis tones darken the brilliances of a twinkling brook. It’s a short ambient passage where the synth waves which float among the ochred sighs weave beautiful harmonious bits, guiding "The Sound of Magic" towards its 4th and last phase. Its most harmonious phase! A little after the 17th minute, a sequenced approach spreads its chords which waddle soporifically under a chimed hoop and these ochred sighs which adorn the spiritual abysses of "The Sound of Magic". A delicious timeless dance follows where these chords unite their alternative rhythms and their morphic harmonies, drawing a fine spiral which swirls delicately into oniric vapors. "Wonder Spell" is the most atmospheric title on Matangi. Chants of mermaids shine above a long intro fed of oblong echoing reverberations. The ambience is unreal with these heavy tones of industrial machineries which breathe under the rippling synth layers which waltz in a cave where crystals ooze of a glaucous perspiration. Strange and quirky, this heavy phase stemming from the terrestrial abysses drowns itself in the intensity of the lethal choruses, driving "Wonder Spell" towards a more ethereal passage where iridescent synth layers are floating for waltzing of a morphic delicacy. All in contrast, this movement is of an astral tranquility. The breezes of the synths make dance the sparkling arpeggios and energise the voices of the mermaids which chant and shine of an angelic serenity with suave and acute vocalizes which criss-cross this sea of meditative serenity. Tranquillity jostled by percussions which pop out of these paradisiac chants. We are at the 18th minute and the percussions are galloping of a reserved, but tangible, frenzy with a line of chords with stroboscopic undulations which shape a sequential melody running in loop on a bubbling circular rhythm. Hoops with jumpy tones and percussions with tones of anvil bear this rhythmic structure as wild as melodious which hiccups of a wild frenzy for more than 5 minutes before the ethereal ambiances lead us towards the cerebral rest of "Wonder Spell".

Waking up in front of the sea, the synth keys which spin at the opening of "Aqua Fortis" take shelter within a sequenced carousel to swirl in a stationary rhythmic structure. A line with quivering chord gets in. It flits among scattered knocks of percussions, solidifying a harmonious sequential structure caressed by warm layers of a discreet synth. The rhythm accentuates its flow and unchains little by little the harmonious elements of "Aqua Fortis" with twisted and singing synth solos which hide the increasing swiftness of the percussions strikings and the buzzing pulsations, creating a splendid upward spiral which swirls with an enchanting delicacy under the cover of floating choirs. And the oblique race is drying up on the banks of the oceans of contemplativity where waves and shouts of terns are letting themselves lulled by the serenity of the astral mermaids. We are at the 10th  minute spot and the spiritual singings go astray in the chords of synth guitars and percussions of which the banging resound in felted envelopes, as for not disturb the lyricity of the moment. Percussions and chords become more insistent, awakening chimed chords which glitter and spin, shaping the birth of a pulsatory rhythm which ties again with the ashes of its introduction, except that the banging percussions are more present as well as the floating choruses. Giving to this finale of "Aqua Fortis" this hypnotic technoïd touch unique to the musical signature of Indra.
Those who follow my chronicles since my debuts know the attachment that I have for Indra. Like an old friend, I followed his evolution. And if his music of Tantric Celebration always follows the same tangents, it always possesses this cachet so particular which marks it down with regard to the others. So Matangi, and even if the polyrythmic structures and the multivalent ambiances which lay there are similar to those found on Bagalamukhi, always follows this evolutionary bend which makes that the works of this series follow one another as a literary work with just enough nuances and delicate rebounding that one is able to differentiating the tomes. It’s magnetic, mesmerizing and very beautiful! It’s in the lineage of the minimalist works of
Klaus Schulze, with a seraphic touch.
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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