Total time: 62:45

Recorded: 2005
Distributed: 2005


We get off to a real blast with ‘Enigmatic Rumours’. Heavily processed but exciting rhythms soon get into a foot tapping and head-nodding groove. An ominous sequence starts to rumble away underneath.

Sequences are even more dominant in ‘Ankh’. It is as if a helicopter is coming into land, the rotor blades whipping up a storm. A little mellowness is added in the form of dreamy pads before things calm down completely with the introduction of some tinkling pulsations. The pace quickens once more with the return of the helicopter sounds. The backing introduced now is different to earlier but still provides that calm edge, imparting something of a mysterious feel to proceedings. In the last few minutes more rhythms are added, then sequences.

‘Bindu’ deploys an insistent sequence (or perhaps rhythmic loop) almost right from the off. All rather infectious it is too, getting my hands beating out time on the desk. It has a decidedly Schulzian feel to it in the way that little splashing sounds accompany the pulsations- beautifully done.

‘Dhurjati’ begins really moodily with windy sounds, tinkling effects and occasional metallic percussion low in the mix. A superb sequence breaks through in the second minute and really starts to bounce forward. If the rest of the track is as good as this it is going to be a stonker! The sequence gains even greater oomph and another is added to it. Again Schulze would be the closest comparison. A sympathetic rhythm joins in the fun as things get even more exciting! There is some superb lead line soloing – yet again like you know who. The sequences mutate nicely. In the sixteenth minute dance type rhythms make their first fleeting appearance (to return from time to time). They didn’t detract from the track but I’m not sure they were really that essential either. We finish with some nice angelic wordless choral pads.

Big gusty windy sounds introduce ‘Nataraja’. Out of the oncoming storm surges yet another excellent sequence accompanied by some eerie electronic high register warblings. Percussion is added and the backing becomes more ethereal but also uplifting (guess who it sounds like again?!). It is an excellent closing track which I wish could have gone on longer than its five-minute duration.

This album is one of the more recent ones, coming from 2005 and is one of the best I have heard from him so far. It is nowhere near as ‘Eastern’ sounding as the title might suggest.

2006 David Law /Synth Music Direct

The first track ‘Enigmatic Rumours’ begins and a very percussive almost trance like intro with sub sonic electronics pulsing away under the surface. Even after just a few seconds in, it quickly becomes apparent that Volume II is a totally different creature to its predecessor. ‘Enigmatic Rumours’ displays a much harder edge than what we are normally used to with Indra’s work and previous Klaus Schulze/Jarre comparisons on the whole don’t really apply here. The hypnotic tribal feel of the track is an ideal opener for the album.

A powerful anthemic sequence starts off ‘Ankh’ and the track is quick to build in intensity and depth. At barely a minute in, I reach for the remote and increase the volume – this is exhilerating minimalistic brilliance, we have just a heavy sequence with some cymbal like percussion and atmospherics but the saying less is more definitely applies here. At four minutes, the power is cut as the atmospherics take over but this is to purely heighten the sense of anticipation as the tremendous bass sequences are still there restrained in the background as rapid fire percussion like the ticking of an out of control clock gently propels the music along. Electronic noises and effects swoop and soar over the pads, this is exotic and very euphoric.

‘Bindu’ commences with a minimalist percussive intro sequence and ambience that conveys a vast cavernous space, then we see the introduction of a gentle lead line over the top. Klaus Schulze fans will straight away fall in love with ‘Bindu’ although the track has it’s own unique identity and should not be dismissed out of hand as being too derivative or formulaic. That said, this is the most retro sounding track on the album so far and the contrast with the previous two tracks is noticeable. This takes us very much into classic Berlin School territory but the ending sees a more tribal trance like feel, evident in the preceding pieces, being subtly added to bring the track to it’s conclusion.

‘Dhurjati’ sees the engines temporarily cut as we drift blissfully in space, a wonderfully cosmic and shimmering introduction from which a sequence starts to slowly emerge after the two minute mark quickly followed by an athemic melody line as the piece picks up momentum, swooshing noises kick in as the engines are fired once more as a powerful beat propels us along. Words like exhilarating and breath taking could very well describe the pace and feel of ‘Dhurjati’ as we approach the six minute threshold. This is music that’s definitely got that feel good factor. ‘Dhurjati’, at nearly twenty seven minutes long, is the longest track on the album and I wonder how this incredible momentum can be sustained or developed over that length of time; to my amazement however he does just that and there isn’t a single second wasted! By eleven minutes, a tinkling high register sequence/melody is introduced as Indra explores and develops the possibilities of this track. Thirteen minutes and it doesn’t seem possible but the track gains a sense of greater purpose and urgency with a powerful drum beat being introduced accompanied by a deep bass sequence. The beat is relentless and is extremely catchy, air keyboardists everywhere will have aching fingers after listening to this track. As I listen to this track it becomes evident from the music just how much Indra is enjoying himself, his enthusiasm and confidence just flows through the music.

An ominous whooshing from speaker to speaker followed quickly by a nagging sequence line sees a moody start to the final track, ‘Nataraja’. Atmospherics and various effects slip in and out of the mix before choir like pads start to emerge just before the three minute mark. Then more pads are added giving a mournful reflective air coupled with a serene beauty. Percussion is subtly employed but it is not intrusive and doesn’t detract from the chilled feel of the track. However at only five and a half minutes long, the track is sadly over before it’s really begun but it’s a fitting epilogue. I am puzzled though as the album artwork lists this final track as lasting for over fifteen minutes but this is just a minor point.

To sum up, Volume 1 was a hard act to follow but with Volume 2, INDRA has pulled it off. Volume 2 sees a more contemporary feel and it is definitely his most up tempo hard edged work to date. Also Volume 2 should see INDRA throw off the KS/Jarre clone tag that some are quick to label him with. I can definitely recommend these two albums as the ideal starting point for those wishing to mine the vast riches of Indra’s work.

2006 Endorphin

As with volume one in the series, this disc quickly dispels the notion that it has anything to do with the Eastern religious imagery on the front cover.

‘Enigmatic Rumours’ is heavy on the electronics, both synths and drum machines. While volume one was all retro, this first bit is dance-floor ready, with just the slightest hint of world influences for good measure.

I find the incessant rhythm a bit heavy going, but it doesn’t last long, and launches us into ‘Ankh’ a swift Berlin school offering. Comparisons to Klaus Schulze are practically unavoidable as warm pads drift over the top of the percussion and sequencing. Sounds drop out only to reappear later in inventive and thoughtful ways. INDRA has a cool way of building layers musically, pulling back, and then starting again just when the music is about to end. He creates little gems of sonic suspense, carefully controlling the tension, knowing precisely when to pull it tighter or let it go.

‘Bindu’ continues the trend of volume two being more driven by rhythms, though the electronics are nearly always along for the ride. The punchy percussion here bubbles along like a more dancey version of Totem perhaps.

Even more energetic is ‘Dhurjati’, again much more Eastern sounding in name than musically. The beat goes on for nearly 27 minutes here, and I can see this one’s enjoyment factor depending wholly on my mood at the time. ‘Nataraja’ is a short interesting diversion to bring the disc to a close on a cute note.

Though I like volume one better, volume two has plenty to offer as well.

2007 Phil Derby / Electroambient Space

Die ideale Ergänzung zu der Vol. I . Indra ist eine klasse Bereicherung der EM – Szene . Schade ist nur : Warum wurde niemand nicht schon früher auf ihn aufmerksam ? INDRA hat schon so viele CD´s veröffentlicht. Also Leute , Ihr könnt aus dem vollen schöpfen ;-)) Für mich gehört INDRA zu den besten Neuentdeckungen überhaupt. Ich bin froh , dass die Szene wieder richtig lebt :-))) So macht es richtig Spass.

2006 Uwe Sasse



Ordinairement, à tout le moins au cinéma, une suite laisse toujours un petit goût amer. Un petit quelque chose qui ressemble à du réchauffer. On se souvient que ‘Magic Circle’ clôturait The Call of Shiva – vol.1 avec des soubresauts techno.’Enigmatic Rumours’, de The Call of Shiva – vol.2 poursuit sur cette lancée. Très lourde, avec un séquenceur qui hoquette une pulsation basse et dynamique, ‘Enigmatic Rumours’ parcours un hymne ‘’techno trance‘’ avec des spasmes synthétiques qui parcourt une atmosphère survoltée. Tout un effet pour partir un opus qui a un sens du beat indéniable. Sans vriller avec autant d’énergie Ankh est un titre bouillant. Statique il tourbillonne avec force sur des intonations variées. Discret, le mellotron est superbe. Il encadre à merveille un synthé exploratoire qui fuse des complaintes éparses et de merveilleuses strates synthétiques qui moulent une ambiance lente qu’une faible et timide percussion anime.

Courtisé par des souffles et effets sonores tant cosmiques qu’analogiques, ainsi que des petites percussions tablas, ‘Ankh’ continue sa progression sur de suaves souffles synthétiques. Subtilement, le mouvement varie avec une infinie tendresse, même si le séquenceur tente de brasser la marmite. Une superbe procession cosmique d’une sensibilité à faire lever le poil.

Quoiqu’un peu plus agité, ‘Bindu’ nous maintien dans ce cycle statique. Les percussions minimalistes survolent un tempo qui croît feutrement à la mesure de sa progression. Flottant, le synthé garnit l’atmosphère d’une obscurité placide, filtrant parcimonieusement des raies sonores envahissantes aux élans mellotronnées. Du grand art hypnotique qui nous ramènent, par moments au grand Totem de Klaus Schulze, ce qui n’est pas négligeable.

‘Dhurjati’ est un vrai festin musical. Une bombe musicale de près de 27 minutes qui débute avec nonchalance sur une intro planante, aux souffles cosmiques. Peu après, des notes flottent avec lourdeur formant un tempo circulaire en immersion. Le mouvement s’agite, mu par des percussions martelantes qui pulsent un rythme assourdissant, derrière ses percussions métalliques. Une bonne ligne de basse s’ajoute et ‘Dhurjati’ part à la croisée des rythmes aussi variés que pesants et entraînants. Une fresque musicale unique, qui regroupe tous les ingrédients nécessaires à un ‘’party psychédénique‘’. De mouvements séquencés ambigus aux rythmes pulsatifs endiablés, en passant par des séquences techno ‘’techno trance‘’, INDRA peaufine les genres avec en maintenant une aisance harmonieuse assez déroutante. Rarement j’ai entendu un titre aussi long qui a autant de rythme, sans verser dans l’hypnotisme facile.

Courte, mais combien sublime est ‘Nataraja’. Sur une faible basse pulsative, un superbe synthé emprunte les différents souffles mellotronnés pour agrémenter nos oreilles de suaves mélodies, qui nous décroche une larme, juste une petite.

J’en ai écouté de la MÉ. Et INDRA ne cesse d’impressionner. D’opus en opus, il arrive toujours à me soutirer un froncement de sourcils. The Call Of Shiva – vol.2 est sa plus grande œuvre. Un opus intense, mélodieux et d’une infinie tendresse, et ce même avec les rythmes endiablés qui nous couvrent tout autour. Malgré les folies passagères, et ses audaces, tant dans les rythmes que les structures, INDRA conserve sa sensibilité latente qui finie toujours par sortir à l’ombre d’un superbe passage mélodieux. Un titre sans failles, sans bavures et sans une seconde de trop, The Call of Shiva – vol.2 est, à mon avis, l’album de 2005. Un incontournable.

2006 Sylvain Lupari / GOD