Yogaesoteric : How important is the environment in which you perform your concerts? What is the difference between the live from the Salt Mine of Turda and Costinesti on the Black Sea shore, where you had a live concert this summer (2007) too?

INDRA: Because of the specifics of electronic music (especially the Berlin School style), the environment is very important as you need to allow more for the beneficial influence over the people's psychic, which has to last for a long period of time, and less for the exaltation of some emotions without a known finality, as we can see in the case of concerts engaging other genres of music. Generally speaking, I try to enrich my live performances with special video projections, light effects, lasers etc, all these having the purpose not the entertainment of the audience, but the facilitation of a state of self consciousness. So the spectator begins to live for himself a more and more profound experience, generated by the carefully chosen combination of musical tones and rhythms with video images. The Salt Mine concert not only is the first one of its kind in the world but it also involved a powerful energetic side, favored partly by the location (inside the earth) and partly by the salt crystals which, as it is known, have a meaningful ability to energetically purifying the environment.

Yogaesoteric: Can you describe a few of your subtle perceptions during this concert please?

INDRA: I can say that during the Salt Mine concert I had an extraordinary experience. The special reverberations of the sound (caused by the gigantic hall inside the earth), the wonderful light show projected on the salt crystal walls and also the deep introspective state of my audience gave me a remarkable empathic state that greatly inspired me as I performed. The subtle field of energy in the salt mine is very special. This has directly influenced the exemplary organizing of the technical team and the mountaineers team, who was essential in bringing all the equipment in the enormous hall of the salt mine.

Yogaesoteric:  Can you please tell us if you are working on any special themed tracks for the next concert at the Sphinx in Bucegi?

INDRA: I carefully choose the themes for my tracks in a specific concert depending on the location, the moment in time or the force idea that sustains it. For the one at the Sphinx I will probably choose for some tunes with a strong masculine, transcendent touch but also with archaic resonances that send our imagination, feelings and emotions in the gone times of the past when our ancestors manifested a high spirituality and a profound knowledge of the cosmic laws and mysteries that surround us.

Dan Bozaru (INDRA): Something about my way of making music

Here is my way of composing electronic music:

The tracks usually start with a single element, e.g. a sequence or an arpeggiator. Sometimes I take up these individual elements in the Cubase SX platform and perform there all the needed adjustments until I consider that the final length of the track is achieved. The remaining elements are added after this operation. However this is not an absolute rule in the way I make music, there can be also completely different methods to compose and perform a musical piece. It really depends on the characteristic of the respective track. Sometimes it can be just a drum loop or something else. It only depends on the style which I choose to perform because I don't make exclusively Berlin School music; I also experiment with other styles, e.g. in Signs. However, there is a topic which I have for each piece in my mind and which I generally follow until the piece is finally developed in the way I wanted. Often the beat is very important and I give much attention to it. This usualy begins with the careful selection of a drum sound from my numerous sound libraries.

Since I use hardware and software synthesizers the recording process can vary from case to case as software instruments are very easy to deal with so you don't need to do much once you recorded your performance. You just save your Cubase project and everything will be there. On the other hand, hardware synthesizers are more complicated to integrate if you want to have 'total recall'. However this is not so important to me; While I take up a midi track, I make a few real-time modifications of some parameters in the synthesizer and include them in the recording. Then I make the audio tracks from the midi ones. I do not control my synthesizers over the Sysex Data. I take up the musical section and then go to the next topic. I never liked Sysex dumps and things like that! I transfer the midi data to audio signals. Since one never knows whether one still has the same instruments after a long time is better to have everything saved as audio tracks (this is even better than the use of the freeze function). I don't rely on SySex data for recalling the synth settings, I just record the musical part and move along. If you wonder how I change things after they're done without using SySex dumps and stuff like that, I can tell you I never did that!

I like very much using software synthesizers; as a matter of fact they increase more and more their performances nowadays and become very well emulated. I particularly like the Korg Legacy Collection. It makes much fun to play with this nice MS 20-Controller; one has really the impression not playing actually with a software synthesizer. The software-version of the Wavestation finally replaced my hardware output.  The Korg Wavestation Ex was my first Synthesizer  and I used it for a long time until finally it was conceived as a plugin output. In time I had all my synthesizers sold, replacing all with others new, except the Wavestation. I played on it on different occasions and used it also in my last concert from the summer of 2006 at Schleiden (Germany) in the festival organised by Cue Records. But that was its last 'appearance' on the stage.
I also like the Hartmann-Neuron synthesizer (the plugin) which is an amazing synthesizer (though pretty unstable).  Then there is of course the stuff from the Native Instruments; I particularly like the Absynth synthesizer because one can make a few really astonishing things using its large potentialities (for example the percussion part I used in The Soldier's Requiem (from the album The Challenge)). Finally I use also the Reaktor with its enormous amount of sounds from the ensembles. I'm not really a synth programmer like the guys who program synths from the scratch. These instruments come with a lot of presets and I usually find something I like and use that preset as a starting point until it sounds like I really want it to sound. Sometimes I don't touch but a few parameters, like some presets on the Roland V-Synth which sound really great. However, sometimes I do modify the parameters of the preset until this becomes practically unrecognizable.

Speaking of hardware synthesizers, I love my Virus Classic (the Desktop version) and the Virus KC which were mainly used on my some previous albums. For example, many of the sequences you listen in The Call of Shiva, The Challenge and Generation were made using these synths. Starting with the album Tara I also used the Virus TI which is a real 'diamond'   in the synths world and is now my workhorse. It has a very powerful sound and it's a very musical synth as well. You just go through the presets and it's likely you could record a track with every one of them. It has a great keyboard too but Roland V-Synth also has a good one, and the Nord G2 as well. Speaking of G2, which I also like for its particular sound, more digital yet very musical sounding, it has this cool pitch stick which is very playable and is able to produce some unusual sounds.

(Original version in German)

(Bernd Kistenmacher)

(available in English and Italian)

English version of the interview printed in the Italian magazine "New Age and New Sound" no. 165/2006

Native of Dragasani, Valcea County, at 16 he starts studying percussion and then guitar, becoming a solo guitarist in various folk and rock bands, such as Rocking and Echo.
In the 80s he begins studying oriental religions and develops a deep passion for electronic music and related technologies. In 1993 he puts together the first digital studio where with the help of his computer produces four independent projects (Turning Away, Kingdom Of Light, Parallel Time and Space). Immediately after that he starts working with InterLotus label, producing a series of albums that attracted positive feedback from media and radio (Plenitude, Magic Collection, 7, Cosmic Sound, Colosseum and Self Game), doubled by other projects elaborated for Digital Records production house (Tales From Arabia, Maharaj and The Way Out). The first years of his musical activity are synthesised in the double album Interactive Play, after which he really starts performing live concerts.

Indra's prolific and eclectic creations – that can be noticed in his next albums: Echo In Time, Star Traveller, Ocean Of Silence, Sideral Music, etc… prove a polyvalent entwining of ambient music, classical, music therapy and new age. In the millennium to come, Indra expands his musical horizon with new and interesting albums that follow the lead of the great German electronic music school, as well as with creations closer to Jean Michel Jarre 's style, here counting  Whispers Of Nature and Ultimate Nexus; in addition, Indra re-masters some of his albums from the previous years. At the same time he develops a new fascination with the spiritual Hindu culture and tradition, manifested in works such as The Call Of Shiva (vol 1 & 2) and also in a true collection of electronic music made of 12 volumes, which is in fact a Special Edition (called Tantric Celebration) dedicated to the ten main feminine deities of the Hindu tantric pantheon. 

You've started by studying percussion…
'At that time I was intensely preoccupied by expressing the rhythms I had in mind. In my opinion, the rhythm is most important, as well in music as in everyone's life, because it represents the energy's pulsation and vibration. The rhythm is the one that gives life to music, even in those compositions that apparently have no cadence. The melody itself is born as an organic response being based on the rhythm's evolving structure which makes it magical and mysterious… I didn't wish to become a drummer as part of a band, but the rhythm was giving me the opportunity to realize and understand the invisible connections that 'moves' music. Having this input, I had some live performances with other musicians and I must say those experiences helped me shape my music.'

But what do you remember about your beginnings as a guitarist?
'It happened several years later, when I was learning how to improve the sound effects I could get from my electric guitar using the effect pedals. My personal style was very close to that of David Gilmour, who seemed to me a real master in this respect. The progressive approach to music was simply born from the desire of expressing something more sophisticated and elaborated than the standards of the 70s. The band Rocking was a quartet composed of bass guitar, solo guitar, drums and keyboard. Every time we sang in student's campuses we were left with the impression that our public doesn't understand what kind of music we were making… when our collaboration has finished, I founded Echo, a less sophisticated  band that approached a progressive folk, involving two acoustic and one electric guitar plus drums. This formula allowed me to experiment sound depths enriched by the experimental use of one of the guitarist's voice.'

When  have you started  becoming   interested in the oriental philosophy and spiritual currents?
'In 1985 the oriental philosophy and the yoga practice influenced in a natural way the spirit and meaning of my creations. When I came into contact and profound syntony with the wonderful oriental tradition, an infinitely more elevated spiritual stage began in my life. The truth is I've never been to India, but this doesn't represent an obstacle in the study of such an old nation culture, tradition and religion.'

You've completely changed perspective in 1993 when you   have  started composing electronic music…
'I've learned on my own playing keyboards. Essentially, I was interested in getting the most out of the instrumental capabilities of modern synthesisers. I wasn't a virtuoso, but the tones represented an almost infinite source for my inspiration and I was so happy to discover that this way I can express efectively my ideas in the music; one can easily tell  this reading my discography. Today I've realised there are no limits of expression when one uses the latest technology in electronic music. All that one needs is elevated inspiration and a lot of patience… Moreover, I am convinced that electronic music helped me understand the depths of the human nature.'

Can you tell us about the way your music evolved?
'At the beginning of my career, InterLotus label strongly believed in the music I was writing and considerably invested in promoting it. However, after a couple of years I moved to Bucharest and so I've encountered new opportunities to thrive in my artistic aspirations. From a commercial point of view it is not at all easy to sell this kind of music that requires the natural capacity of introspection and a special sensitivity from the listener's part. This is why the music production labels rarely deal with artists belonging to this genre. Personally, I've always tried to express my artistic emotions through various styles, including German music, classic music, holistic therapy and music therapy. Along the years I've apprehended that a distinct part of the world's electronic music known as the Berlin School could be the most important art school regarding this type of music. Still, once I've passed the initial stages, I've somehow changed the classical orientation of this school, adding elements closer to new age style, a certain 'melody' of the soul and the influence of pure, inner emotions.'

Who else influenced you besides the German school?
'The world's electronic music scene owes a lot to the instrumental direction developed by Klaus Schulze, direction that each artist has to know how to develop in his original style. Another remarkable band was Pink Floyd, who left a deep mark on my career; along this I've been greatly influenced by Vangelis' creativity and his extraordinary artistic sensibility.

What do you remember about entering the new millennium, when you performed in Iasi the great concert Millennium Live 2000?
'At that time, my dream was to celebrate the great moment of passing in a new millennium. It was a difficult project that involved numerous specialized technicians that were in charge with the running of the event: projectionists, dancers, classical music singers etc. There were also two ballet troupes. Everything lasted for two and a half hours. The album comprises just a few titles from the second part of the concert.'

You've recently finished recording the first album as part of a new project involving a huge amount of work which will be materialised in the Special Edition  called Tantric Celebration; what is the goal of this project?
'The idea came to me about five years ago and has roots in the tantric spiritual system's vision on creation; this vision, among others, has its foundations on the existence and manifestation of the Ten Great Cosmic Powers, first rank deities of the Hindu pantheon. In accordance with the traditional texts of the oriental doctrine, everything that takes place in our lives, physically, emotionally, mentally and spiritually is a direct reflection of these ten feminine deities' actions and influence. An important part of my inspiration comes from the deep contact I've established with the great god Indra, from whom I've also taken my stage name. I've successfully performed one of the tracks that are going to be included in this project on the 15th of July [2006] in a live concert at Open Air Festival in Schleiden (Germany ) and I will use this opportunity to officially thank host Joerg Strawe, the organiser and owner of Cue Records label.'

What can you tell us about the inspiration and the meaning of the track 'Space Between Us' that has been included in our presentation?
'It is a sort of a 'melodic island', being differentiated from other tracks on Helios Arena through a series of interruptions. Hence the title, to indicate a sound dimension that explores the most inner desires and expectation of my consciousness, where the listener can feel free to dive into the positive side of life. It is an instrumental track that removes the melancholy in order to allow dynamism impregnated with a sincere and total spiritual freedom. This is the song's most interesting meaning: to depict a place where we can lose our masks and our false ego, coming in syntony with our immortal, free essence.'

(interview by Sergio Alesio)

(Italian version)

New Age and New Sounds no.165, September 2006

INDRA

La musica dell’inconscio

Il compositore rumeno crea delle interazioni ambient fra il mondo classico, la musicoterapia e i retaggi folclorici dell’est, convertiti in beat elettronici di ampio respiro armonico.

Originario di Dragasani, nella regione rumena della Valcea, a 16 anni Indra inizia a studiare le percussioni e a suonare, in veste di chitarrista, con gruppi rock e folk come i Rocking e gli Echo. Negli anni Ottanta studia le religioni orientali e sviluppa una viscerale passione per la musica elettronica e le nuove tecnologie. Nel 1993 allestisce un primo studio digitale, dove elabora al computer quattro progetti indipendenti (Turning Away, Kingdom Of Light, Parallel Time e Space). La stagione successiva inaugura un rapporto professionale con l’etichetta Inter-Lotus, realizzando una serie di album che raccolgono i consensi della stampa e delle stazioni radio (Plenitude, Magic Collection, 7, Cosmic Sound, Colosseum e Self Game), doppiati dal alcune opere elaborate per la Digital Records, quali Tales From Arabia, Maharaj e The Way Out.

Nel corso del decennio la sua musica, elaborata in particolare nei cd Interactive Play e Flux, viene presentata in importanti hall, cosě come ottimi riscontri hanno le sue interazioni live con le soprano Michaela Dasicomis e Maria Mladin sul filo del concept Helios Arena. Le prolifiche ed eclettiche composizioni di Indra – che si distendono in numerosi cd: Disco Rustic, Echo In Time, Star Traveller, Ocean Of Silence, Sideral Music… ‑ mostrano un polivalente assemblaggio fra la musica ambient, il folk, gli echi classici, la musicoterapia, la new age elettronica.

Nel nuovo millennio dilata gli orizzonti della sua musica con cd interessanti che seguono i dettami della grande scuola elettronica tedesca e della lezione piů pop di Jean Michel Jarre, quali Soft Dreams, Whispers Of Nature e Ultimate Nexus e rielabora in studio i masterpiece del passato. Inoltre sviluppa una nuova passione per la cultura e la musica asiatica in The Call Of Shiva, Vol. 1 & 2 e addirittura in un box di musica elettronica suddiviso in 12 volumi e dedicato alle dieci divinitŕ femminili dell’India: Tantric Celebration.

Lei ha iniziato studiando le percussioni…

“In quel periodo ero ossessionato dall’idea di esprimere i ritmi che giravano per la mia testa. A mio avviso il ritmo č la cosa piů importante, sia nella musica che nella vita di ognuno, perché visualizza la pulsazione e la vibrazione dell’energia. Il ritmo dona vita alla musica, persino in quelle composizioni apparentemente prive di cadenze percussive. La melodia stessa nasce come un’organica risposta basata sulla struttura evolutiva del ritmo, che la rende magica e misteriosa… Non volevo diventare un batterista o un percussionista, ma il ritmo mi dava l’opportunitŕ di accedere e di comprendere gli invisibili legami che muovono la musica. Sulla base di questo input, per oltre due anni, mi sono esibito in pubblico suonando le percussioni insieme ad altri musicisti e non nascondo che quella esperienza, che puň sembrare inconsueta per me, mi ha regalato lo stimolo definitivo per elaborare le mie composizioni.”

Invece cosa ricorda dei suoi debutti come chitarrista?

“Č accaduto alcuni anni piů tardi, quando stavo imparando a valorizzare gli effetti sonori della chitarra elettrica grazie ai modulatori elettronici dei pedali e del wha-wha. Il mio stile ruotava attorno alle vibrazioni degli eco e ai ritardi di cui David Gilmour era un vero maestro. Il mio approccio con il progressive nasce proprio dal desiderio di esprimere qualcosa di piů elaborato e sofisticato rispetto ai canoni standard del rock. Rocking era un quartetto con basso, batteria e il gioco incrociato di due chitarre. Quando suonavamo nei campus universitari spesso avevo la sensazione che il pubblico non capisse che tipo di musica facessimo… Quando la nostra collaborazione ha avuto un break, ho fondato gli Echo, una band piů semplice, che sviluppava un progressive-folk affidato a due chitarre acustiche e un’elettrica supportate dalle percussioni. Questa formula mi ha dato l’opportunitŕ di sperimentare nuove dimensioni sonore, arricchite dall’uso sperimentale della voce.”

Quando ha iniziato a interessarsi alla filosofia e alle discipline spirituali del mondo orientale?

“Nel 1985 la filosofia orientale e la pratica dello yoga hanno naturalmente influenzato lo spirito e il significato delle mie produzioni. Quando sono entrato in contatto e in profonda sintonia con la meravigliosa tradizione orientale ho iniziato una fase spirituale infinitamente piů elevata della mia vita. In realtŕ non ho mai visitato l’India, ma questo non č un reale ostacolo allo studio della cultura, delle tradizioni e della religione di un Paese cosě ricco e antico.”

La sua carriera ha cambiato completamente prospettiva quando, nel 1993, ha iniziato a comporre delle piece elettroniche…

“Ho imparato a suonare le tastiere da autodidatta. Fondamentalmente ero interessato a sfruttare tutte le possibilitŕ strumentali dei synth. Non ero un virtuoso, ma le sue timbriche erano una fonte infinita d’ispirazione e sono stato molto felice quando ho scoperto quel metodo per esprimere le mie idee: lo si deduce facilmente dalla mia vasta discografia. Oggi ho raggiunto la consapevolezza che non esistono limiti espressivi nell’uso dei synth e delle altre macchine elettroniche. Tutto ciň di cui hai bisogno č l’ispirazione e una buona dose di pazienza… Inoltre sono convinto che l’elettronica mi abbia aiutato a capire i mutamenti della natura umana.”

Ci puň parlare dell’evoluzione della sua musica?

“All’inizio della mia carriera l’etichetta Inter-Lotus credeva moltissimo nel mio lavoro e pubblicizzava le mie opere. Dopo un paio d’anni mi sono trasferito a Bucarest, incontrando nuove opportunitŕ per espandere i miei interessi artistici. Sotto l’aspetto commerciale non č facile vendere questo tipo di musica, che richiede da parte dell’ascoltatore doti naturali d’introspezione e di sensibilitŕ non comuni. Questo č il motivo per cui difficilmente le case discografiche ingaggiano artisti del settore. Personalmente ho sempre cercato di esprimere le mie emozioni attraverso stili differenti, legati ai corrieri cosmici tedeschi, alla classica, alle terapie olistiche, alla sacralitŕ induista e alla musicoterapia. Per anni ho pensato che la scena elettronica di Berlino fosse la scuola d’arte piů importante del pianeta, ma, con il trascorrere delle stagioni, ho cambiato direzione, aggiungendo elementi piů vicini alla new age, alle pulsazioni del cuore e allo sperimentalismo puro.”

Chi l’ha piů influenzata, oltre ai tedeschi?

“La scena elettronica mondiale deve moltissimo alle directory strumentali create da Klaus Schulze, che ciascun artista deve poi saper sviluppare in veste originale, ma nel corso della vita ogni artista subisce l’influenza di chi l’ha preceduto. I Pink Floyd hanno posto un marchio indelebile sulla mia carriera, e inoltre io sono molto influenzato dalla creativitŕ di Vangelis e dalla sua straordinaria sensibilitŕ artistica.”

Cosa ricorda del passaggio di millennio, quando ha organizzato a Iasi il Millennium Live 2000?

“In quel momento il mio unico sogno era quello di celebrare l’evento con un grande concerto. Č stato un progetto difficile, supportato dal coinvolgimento di un mucchio di amici e di 17 tecnici specializzati, che hanno curato le preziose sonoritŕ della manifestazione multimediale. Alla fine abbiamo portato in scena anche due compagnie di ballerini e alcuni musicisti classici, regalando al pubblico 2 ore e mezza di spettacolo. Il cd include perň solo alcuni titoli estratti dalla seconda parte dello show.”

Ha da poco terminato le registrazioni di un progetto ciclopico di musica elettronica raccolto nel box Tantric Celebration: qual č l’obiettivo dell’opera?

“L’idea di questo progetto nasce cinque anni fa e s’ispira alla visione della creazione che, nella tradizione tantrica, č denominata “i dieci grandi poteri cosmici”. Secondo i millenari postulati della dottrina orientale tutto quello che accade nella nostra vita a livello fisico, emozionale, mentale e spirituale č un riflesso diretto delle azioni delle dieci divinitŕ femminili dell’induismo. Gran parte della mia ispirazione nasce grazie al profondo contatto che ho stabilito con il dio Indra, da cui ho preso il mio nome d’arte. Il progetto č stato presentato con successo il 15 luglio scorso all’Open Air Festival di Schleiden, in Germania, e colgo l’occasione per ringraziare ufficialmente Joerg Strawe organizzatore e boss dell’etichetta Cue Records che ha pubblicato il lavoro.”

Ci puň parlare dell’ispirazione e del significato di “Space Between Us”, la track che abbiamo inclusa nel nostro sampler?

“Č una sorta di isola sonora, del tutto differente rispetto al contesto dell’album Helios Arena da cui č tratta, perché č arrichita da una serie di break assenti nelle altre tracce del cd. Questo č il motivo che mi ha spinto a chiamarla cosě, per indicare una dimensione sonora che esplora i desideri e le aspettative piů profonde del proprio inconscio, dove l’ascoltatore stesso si sente libero di accedere ai lati positivi della vita. Č una track strumentale che cancella la malinconia a favore di un dinamismo pervaso da una sincera libertŕ spirituale. Questo č il significato piů interessante della track: descrivere un luogo dove ci si libera dalle maschere dei falsi ego, entrando in sintonia con la nostra essenza libera e incancellabile.”

(available in English and French)

by Phaedream (Sylvain Lupari) – March 27th, 2007

(original version in French)

INDRA : Des idées plein la tęte, pour une meilleure Musique Électronique Berlin School

Bonjour Indra, ętes-vous satisfait du résultat final de Tara?

Indra : Oui. Je considčre cet album comme étant un des plus complets que j’ai jusqu'ici. Il y a continuité, une unité des idées et des concepts tout au long de l'album. D'ailleurs, je sens qu’il va trčs bien s’intégrer dans l'ensemble des 12 CD de Tantric Celebration. Męme s’il ne représente seulement qu’un aspect de ce que je veux élaborer.

Ŕ quoi peut-on penser, réfléchir en écrivant un long titre comme Anthology. Comment arrive-t-on ŕ maintenir son idée de départ?

Indra :Ce n’est pas si compliqué que ça en a l’air. Les 5 premičres minutes ont été écrites il y quelques mois et j’ai complété le tout en 2 jours ŕ la fin Décembre 2006. Il n’y a aucune improvisation. Afin de conserver une cohérence, tout a été complčtement structuré au préalable et disposé avec le plus grand soin. Et Anthology me semblait ętre le mot juste pour définir les moments les plus significatifs de notre vie; de la naissance ŕ la mort. Si Anthology est un compte rendu en tant que tel, alors son message devient trčs clair.

Tara est le 2ičme CD d’une collection de 12 CD, The Special Edition : Tantric Celebration. Une collection vivement attendue oů il reste encore 10 titres ŕ venir. Comment le travail progresse?

Indra :Pour moi c’est un réel plaisir que de composer cette musique. Quelques rythmes mélodiques générales ont été occasionnellement composés lors des deux derničres années ; mais tout le reste est complčtement nouveau. Attendez-vous ŕ ce que je révčle un nouveau style, dans les titres qui vont suivre comme je l’ai fais avec Tara. C'est une implication qui demande beaucoup, beaucoup de travail et je suis confiant que vers la fin de 2007 cinq autres titres seront complétés. Les fans seront surchargés par cette avalanche de titres, mais de cette façon, ils auront le temps de s'adapter graduellement, au lieu d’attendre le coffret de 12 CD d’un coup. Je partage la pensée de plusieurs et admet qu’une progression réguličre est plus aisée. Tout que je fais est de donner aux fans plus de temps pour écouter entre les mises en marché. De cette façon, c’est plus facile ŕ comparer et ŕ assimiler.

Tara a une approche sonore différente. La différence est subtile, mais ont peut la sentir. Est-ce que je me trompe oů Indra va davantage dans les racines de la Berlin School?

Indra : Votre intuition vous sert bien. De mon point de vue et en raison de ses particularités, Tara surprend de structure aux tonalités. Par exemple, les nappes et les violons séquencés sont dominants. Mais c'est le style de la Berlin School, qui permet une si grande variété de nuances avec un potentiel encore non atteint, qui dans mon cas est reflété par les particularités de Tara : une nouvelle approche pour chaque nouveau titre.

Tara est trčs imprégné par la BS. Je dois dire que c’est un renouveau et rafraîchissant BS. Est-ce fait de façon intentionnelle? Je veux dire; ętes-vous donné le mandat de changer les horizons de la Berlin School?

Indra :Toute une question! En effet, avec des albums comme The Call of Shiva 1 et 2, Kali et Tara, mes intentions sont de présenter une nouvelle approche, une nouvelle vision de la Berlin School qui, de toute façon, offre d’énormes possibilités avec un style musical complexe et un énorme potentiel. Au tout début, la Berlin School avait sa propre identité, et maintenant il faut aller de l’avant et faire une progression. Ce qui ne veut pas nécessairement dire en faire du Berlin School moderne avec des musiciens plus contemporains. Souvent, ce genre de présentation est tout ŕ fait ennuyeux et ne veut rien signifier. Comme je l’ai déjŕ mentionné, la Berlin School peut-ętre la ressource la plus riche pour la MÉ. En fait, c’est le niveau le plus élevé, dű ŕ la puissance de son expression. Par conséquent, il doit ętre sagement exploré et structuré de maničre ŕ ce que les compositions résultantes peuvent facilement ętre identifiées en tant que véritables gemmes musicales, riche et profond dans le contenu pour l'auditeur instruit et serein. Il faut repenser l’esprit, la structure de la Berlin School, la revoir avec le côté mélodieux. Pas des mélodies niaises et faciles, mais celles aux effets subtils qui s’accordent aux formes variées qui s’étirent tout au long des longues pičces. On dit souvent que la Berlin School est un vieux style redondant en raison d’une certaine stérilité au niveau émotif. L’état mental de transe s’acquiert en écoutant certaines partitions musicales de la Berlin School, et ce ne sont pas celles qui sont nécessairement longue et monotones suggérant des séquences répétées. On peut atteindre cette transe sur des pičces inspirées, avec des pulsations bien placées dans des intervalles bien choisies. En fait, la Berlin School devrait réveiller l'intéręt de l'auditeur de la męme façon qu’un écrivain captive l’intéręt du lecteur. La Berlin School ne devrait jamais ennuyée, mais ouvrir les oreilles vers un monde de découvertes, de poésies. En conclusion, la Berlin School peut générer de merveilleuses sensations de bonheur et d’enchantements. C’est l’importance de créer et surtout de développer, un nouveau Berlin School qui respecterait ces valeurs.

Pas de concerts en vue?

Indra :L’écriture de The Special Edition gruge tout mon temps pour l’instant. Donc, il y a peu de disponibilité pour préparer des concerts. De plus, c’est assez difficile ŕ cause des distances entre la Roumanie et les endroits en Europe. Une tournée mondiale serait la solution, mais il reste du temps pour y penser. Cependant, j'ai été déjŕ invité ŕ participer au festival annuel de Ricochet Gatherings, en hommage ŕ Tangerine Dream et produit par Vic Rek ŕ l’été 2008 chez moi, en Roumanie.

Quelles sont émotions lorsque tu donnes un concert? Quand tu es seul, comment te sens-tu?

Indra : Je me sens trčs bien seul sur scčne. Habituellement je suis seul, mais de temps en temps je demande l'aide d'autres musiciens, comme sur Colosseum. Il y a Flux, ainsi qu’ Helios Arena oů j’étais accompagné par la mezzo-soprano Maria Mladin. Le Millennium Live 2000 enregistré ŕ Iasi, a été le plus difficile pour moi. Il y avait des danseurs, des orateurs en plus d’un celliste (Mirel Grajdeanu) et un programmateur de PC (DJ Naga). Un évčnement chargé. En ce moment, je pense ŕ une collaboration avec Catalin Truta qui remastérise mes CD et qui aussi membre du groupe de MÉ, DaKsha. Les prochaines compositions seront signées INDRA & TC (TC pour Catalin Truta) et seront toujours d’inspirations BS. Nous envisageons aussi la possibilité de présenter des concerts.

Y-a-t’il des chances de voir Indra en Europe ou au Canada?

Indra : Il est déjŕ assez difficile pour moi d’aller en Europe, donc L’Amérique?? Et de nos jours les fans de MÉ ne sont pas ceux d’il y a 20 ou 30 ans, malheureusement. Si vous avez 100 spectateurs ŕ l’un de vos concerts, vous devriez vous considérer un homme trčs chanceux, qui a réussi ! Et il y a tant de nouveaux artistes en MÉ qui rendent la concurrence plus dure. Mais qui connaît l’avenir ? Si un bon commanditaire se présente, j’y penserais certainement.

Planifiez-vous de créer des DVD sur vos concerts ou de votre musique?

Indra : J'ai vraiment pensé derničrement. Il pourrait s’agir d’un DVD regroupant l’un de mes concerts ou un DVD audio avec mes prochaines compositions. Quoi qu'il en soit, j’ai du temps pour y penser, puisque le marché du DVD audio est il est inexistant en Roumanie.

D’autres projets, mis ŕ part The Special Edition?

Indra : Il y a au moins 2 autres projets aprčs que The Special Edition soit completée. D'une part il y a le INDRA & TC j'ai déjŕ mentionné et qui pourrait impliquer une série d'albums, et il y a ce projet que j'appelle "La Trilogie de Berlin School". C'est un hommage aux pionniers de la MÉ et, en męme temps, d'une nouvelle direction dans ce domaine. J'ai également un album de relaxation et de méditation contemplative en vue, comme les fans m’ont demandé. Un album qui s’intitulera Soft Dreams. J’ai aussi quelques idées pour un album ‘’groovy’’ et Drums’n’Balls, son titre serait Legend. Une premičre pičce est déjŕ écrite; The Queen of Salem.

Indra, merci de ta générosité et ton temps. Et, aux noms des lecteurs de Guts Of Darkness, la meilleure des chances avec ton nouvel opus, Tara, qui est trčs bon en passant.

Indra : Vous ętes bienvenue et merci beaucoup de votre intéręt. Vos questions sont toujours objectives et comprennent les nuances trčs subtiles. Et merci ŕ tous les lecteurs de Guts Of Darkness, spécialement ceux intéressé ŕ mon univers musical.

After appearing in our last issue No31, INDRA from Romania proved his interpretation of the Berlin School sound is quite diverse in its structure. Although his compositions are lengthy, the twist & turns he incorporates in the music is always interesting and entertaining. So, we were happy to get the chance to have a chat about his music and as a bonus, some unreleased sounds as well.