Total time: 62:44

Recorded: 1994
Distributed: 1994
Republished: 2011


PLENITUDE was composed in a very relaxed state of spirit in which the dominant daydream is about certain remote and mysterious realms.

First track I recorded gave the album title, as the theme was fresh in my mind. I wanted the listener to stay impregnated by its ancestral message, so I decided to put it at the bottom of the track list. I consider it one of the most profound and filled with love musical piece that I ever composed…
Guided by its message, I wanted all tracks in this album to carry the same energy in a similar manner, that of going beyond the common life, into a more elevated and love filled existence.
If I was successful with that, I guess only the listener who is intimately fused with my music is capable of telling, and none other…

The bonus track (‘Alcyone’) it’s in the same vein, albeit it was composed and recorded 15 years later. It adds however a powerful spectrum of energy and dynamism to the whole album.




With the release of Thunderbolt-Live at the Black Sea, INDRA announced his come back on the EM scene for 2014. But few of us know that this surprising artist inspired by the minimalists movements of Klaus Schulze, as much vintages as contemporaries, possesses an impressive discography. Only in the 90’s, the Romanian synthesist has made our ears enchanted with an impressive total of 21 albums or K7. Several of them are now out of print and have been re-released in the size of CD or made available via downloadable platforms.

Plenitude is one of them. It is an album closer to contemplative ambience with floating rhythms where INDRA is massaging his keyboards and synth keys in order to mold an astral choir which hums in some captivating and slow cosmic waves.

With its chords which fall and flee time such as a woodpecker mislaid in the mechanism of a metronome on acid, ‘Prelude’ gets ready to weave the cocoon for a beautiful ear worm. The flow is strangely mesmerizing, even if devoid of concrete rhythm, with fine modulations in its progression. Chords of sitar are tinkling behind this hypnotic tick-tock which quietly becomes soaked by an iridescent mist and by iodized choirs while the percussion fall a little before the second minute, solidifying thus the Teutonic harmonious impact of this innocent ritornello.

The astral choirs are the heart of the meditative ambiences of Plenitude. They are very dense at the opening of ‘Action’ and melt into the floating Mellotron’s harmonies and its orchestral airs before infiltrating the beatings of the muffled pulsations which forge a linear and ambient rhythm. Chords stemming from a fusion between a piano and an acoustic guitar weave the main lines of an evasive melody which gets lost in an intense sonic morphic setting.

‘Temple’ is a long contemplative movement where stroll fine modulations among chords which tinkle into iridescent breezes blown by ethereal voices. It’s a good moment of ambience, just like the title-track which is more orchestral thus more moving, where the combination of synth and Mellotron plays a dominating role by multiplying amphibian waves which modulate a psychedelic-cosmic and surrealist approach, like in the first works of Tangerine Dream (Zeit and Atem).

After a very ambience intro flooded by cosmic sea waves and by some ochred breezes which blow lengthly into the astral ways and into timeless waltzes, ‘Devi’ offers a rhythm as so ambient as ‘Action’ with static percussion which forge a passive measure among a powerful morphic mosaic.

It’s very intense but not as ‘On the Beach’. Even if it was written 15 years after the publication of Plenitude, this long bonus track offered with this new edition respects its ambient rhythms and its meditative ambience with a pattern of delicate percussion of which the rollings rumble in the furrows of a sequencing structure where the keys are rolling and dancing as wavelets on a brook sometimes quiet and sometimes agitated. It’s very introspective, just like the whole of Plenitude which turns out to be another nice meditative and ambient work from INDRA.

Sylvain Lupari (January 11, 2014) &