TURNING AWAY would be my first solo album. It carries the imprint of the energy of the beginning and the desire to artistically express the overflowing fullness that my soul brought forth in the ‘90s. It is impregnated with the emotions and nuances that I had felt at the time, of which many united in themes from later albums. Despite the modest technology used to record it, TURNING AWAY is very capable to slide the attentive listener into a universe full of mystery and cosmic nostalgia.
To record this album I used a FOSTEX X-15 multi-track recorder which also incorporated a poor mixer. The final cut was made on AKAI GX-4000D reel to reel tape recorder. The recordings were in fact slightly evolved “experiments”, I still consider that, but ultimately came to realise that it was nevertheless present as a coherent ensemble even if the second track ('Archetype') is a curious combination of nostalgic sax, piano and cello. What initially was supposed to be the saxophone and pads alone, after tries and tries it had gone through piano and cello and ended up with both!
'Transcendental Path' is the realisation of an old idea that was in my mind for a long time but could not find a way out until I had the means it required to and as soon as I met the choirs specific to Korg, I knew that my dream would be fulfilled. The album is one of soul even if, technically speaking, it is not to a high standard...
Finally, the first works of INDRA are dusted and remastered. I say finally because I consider that INDRA is a sublime EM composer and musician that I catalogue in the same vein as Klaus Schulze, although their musical universes are full of paradoxes and don’t follow the same path. This said, the major point of comparison between INDRA and Schulze is the great passion they have for long minimalism ceremonials one can hear on subtle rhythmic modulations. And TURNING AWAY is the anchor point of this comparison and also the very first musical adventure of the Romanian synthesist. It’s a nice album with long minimalist movements rather introspective and mysterious where the ambient goes alongside with progressive and bewitching rhythm that had revealed us a quality synth player on ECHO IN TIME.
Even if it’s INDRA’s very first album, we are not into unknown territories with TURNING AWAY. If certain passages, as in 'Archetype' and 'Transcedental Path', show an INDRA which is not necessary in full control of its creativity, the title track is a real small jewel of the electronic minimalist art and innovative contemporary Berlin School for the time. And 'The Sacred Hall' is the icing on the cake, revealing once again the immense musical borders that INDRA crosses. Him who is so much capable to transcend his most intimate feelings, both on progressives and touching themes. And, as in each of his opuses, the Romanian synthesist takes well care of bringing us in it.
(Sylvain Lupari (Canada) - synthsequences.blogspot.ro