“The value of INDRA grows in a surprising way from album to album. With every listening to INDRA’s music, I want to get even deeper into it. The Romanian composer charms through the harmonious approach of his powerful rhythms. INDRA has an extraordinary musical vision, but unlike others, he also has his own original talent.”

© 2008, Sylvain Lupari / Canada

‘What remains constant is the reason why I make music. It’s not commercial, but addresses a special kind of being, to which only a few people in our modern stressed and agitated society, have access. Here, the spiritual dimension, which gives direction and coherence to existence, is fundamental. I am trying to give through electronic music a part of uncontainable from what is spirit. This creative activity is naturally contained on an ascending spiral, because it represents a conscious effort that is orientated towards the essence of the being, i.e. toward the interior, and not the exterior.’ (INDRA)

Although the “roots” of his musical creation are infused by the Berlin School style, INDRA’s music succeeds in transcending it, embracing also other trends more or less related to this style, such as ambient or new-age, offering a more musical and spiritual component to his work.
Even if he appreciates a lot this style of electronic music, INDRA is also aware of its “limitations”, supporting the development of a superior and “improved” version of what represents the legacy of the Berlin School: ‘Old Berlin School style “sins” because of some “sterility” at the emotional level. The mental state of trance, reachable when listening to a few typical Berlin School style music tracks, is not necessarily obtainable through long, monotone, sometimes tiresome and often not very suggestive repeated sequences (…) Ostinato is good, but it has to be used in an optimum way. I think I succeeded in bringing this dimension of ‘making things happen’ to the Berlin School style, adding also a hint of melodic line, which has the role to connect the listener to their heart.’

‘This vision of sound, if it is understood correctly, can lead to a real inner transformation. It is not simple, because modern man has, generally speaking, the bizarre idea that music is made only for fun at parties. He tends to thus enclose music in a very superficial domain. Fortunately, real music has nothing to do with such things and I think that because of this it is perceived as being difficult and “uninteresting”. To reach the core they have to crack the shell of their preconceptions, then of the superficiality and finally, of their ignorance. Then all becomes clear, bright and full of meaning.’ (INDRA)

INDRA offers some hints about his way of making music in the German ‘Synthesizer Magazine’ (2007). Useful pour ‘les connaisseurs’…

‘The Berlin School style has to be wisely explored and structured in such a way that the resulting compositions could easily be nominated as true musical gems, rich and deep in content for the quiet and instructed listener. One has got to entirely rethink the very essence of Berlin School style of music, its structure, and also “rebuilt” the accents having preferably a melodic way. I mean not the ‘cheap’ melodies but the ones that indeed are subtle and able to correctly and harmoniously show various forms through the whole length of the track.’ (INDRA)

After appearing in our last issue No.31, 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. (Mick Garlick)