Total time: 75:29

Recorded: 2005
Published: 2015



The more the Archives series is progressing in time, the more we arrive around the works which propelled the music of INDRA outside Romania. Emerald Two is the first album of this series to propose 4 long sonic novels of which the shortest one is of 15 minutes.

‘The Rise and Fall of Nubia’ thus begin this promising journey with a thick cloud of woosh and of cosmic particles which wrap the birth of a structure set up on sequences which collide and whose echo of the rings forms a line of ambient rhythm. E-effects, like electronic gases, ‘pepper’ this structure which derives in the oblivion in search of a more steady rhythmic skeleton whereas some woosh are transformed into migratory soles. Repeated pulsations come around the 5th minute, forcing a pulsatory morphic rhythm which will seduce another line of sequences some 3 minutes later, as well as electronic percussion perfumed by tribal tablas. Lasciviously, the rhythm ‘The Rise and Fall of Nubia’ magnetizes our sense of hearing with its fine nuances and its lines of synth which hide astral murmurs. And these murmurs become chants of Arabian meditation, dragging the track into a contemplative finale. This first title of Emerald Two plunges us charmingly into these long minimalist structures that INDRA liked to explore because of this immense capacity of diverting the music, giving another direction and, especially, of decorating it with melodies and effects which usually reach this pinnacle of seduction towards the last quarter of the title. And it’s exactly the same recipe here, at some nuances near. INDRA adds here elements a bit psybient for that time, and certainly psychotronic ones on a music which always glitters of the charms of Klaus Schulze but this time in tandem with Pete Namlook, in particular because of strong cosmic essences.

The introduction of ‘Milliman’ drags us into the delights of The Call of Shiva 1 with sequences which flit around and tinkle among effects of cosmic gas. Although ambient, the movement is charmingly enthralling. Our senses are flying softly with the lightness of the rhythm and we hardly notice the percussion which drum like hundreds of lost steps. The atmosphere eventually weaves curves of harmonies at the same time as the rhythm catches an approach of techno for zombies on magic mushrooms with a line of bass pulsations which makes oscillate its chords with sequences and their organic echoes. Yes, the sound fauna is extremely appealing, even in its thick density! The bass pulsations limp in the shade of some very good aerial synth solos and good electronic effects, increasing more the perception that INDRA has well and truly composed some music structures more progressive, if not more psychedelic, than those to whom he had accustomed us at that time. The rhythm becomes literally lively and ‘Milliman’ progresses charmingly at the measure of our stomping feet before being buried by an ambiosonic passage stuffed of electronic effects. A small passage of 2 minutes, although dust of beatings remain, before the title resumes its rhythmic rectitude in an anarchy figure of rebel percussion. A very good title which would easily have found its niche on the duet of The Call of Shiva albums.

‘Get Ready’ is not outdone! The opalescent winds are making dance the ringings and the sequences which flutter around, go and come in layers of synth weaved in a salvo of violins which add a little dramatic touch with its grave nuances. A line of sequenced pulsations rise up in order to bombard a linear rhythm which skips in some nice silky orchestral arrangements. Metallic jingles invite each other in this hopping dance, bringing other electronic percussion as well, while the atmosphere, loaded with lead violins, weave an iridescence horizon. INDRA adorns very well this structure by inflating his element of rhythm with some good percussion of different tints and tones. And as in each of the 4 phases of Emerald Two, ‘Get Ready’ goes astray towards an ocean of tones in a meditative atmosphere of about 90 seconds before the rhythm relives and restarts, by brief interposed phases, with  more vigor at the level of a very beautiful play of percussion and more biting into orchestrations, flirting even with the idea of a cosmic dance disturbed by a magnificent game of the percussion. Oops … I had already mentioned it!

‘Homage’ is the longest title of the Emerald Two album. And it’s the title which demands a couple of listening before being appreciated to its full measure. Layers of synth are flying such as big threatening bumblebees and the sequences trace a cosmic rodeo before the percussion, in the rather contrasting tones, are not running away with these atmospheres to create a rather lively structure of rhythm for its minimalist skeleton. The effects of synths are very well done and add a hint of realism to an approach to rhythm which turns towards a good down-tempo caressed by a thick cloud of hollow breezes. The rhythm goes for another phase. More nervous, it leads these sequences which were discreet at opening. And the percussion reappear, some dressed in tones of clogs, as if by magic, blowing a steady rhythm which struggles in a storm of electronic effects. And so will go the 27 minutes of ‘Homage’, between phases of rhythm and atmosphere which in every new hatching increases the intensity of both entities.

We enter in the most beautiful years of INDRA and this Emerald Two is an undeniable proof. Long minimalist structures where rhythms and moments of contemplation go along, metamorphose and regenerate in atmospheres which are near psychedelic. It’s doubtless the only reason which explains the absence of ‘Milliman’ and ‘Get Ready’ in the double set of The Call of Shiva. Yes, INDRA is really the Romanian Klaus Schulze…

Sylvain Lupari (July 7th, 2016) &