Producer: Mika Martini in Pueblo Nuevo Studios, Santiago Chile, March/October 2013
Instrumentation: Serge Modular, Korg MS-10, Moog Minitaur, Trogotronic TR-Ogre, Doepfer Dark Time, Cacophonetor II, 4MS panneur, OTO Biscuit Machine, Maestro Echoplex EP-3 tape delay, Pigtronic Echolution delay, Electro Harmonix Cathedral reverb, Electro Harmonix Electric Mistress flanger
Gathered under the premise of improvisation using analog electronic instruments in real time, this collection of four pieces, specially prepared for clang, is a collection of experience accumulated during long sessions of learning and discovery. Picking up the techniques and restrictions of old school electronic music, as well as abandoning the use of modern music making software to generate and process sound, The Revelation According to Frank Benkho arises as a challenge of returning to the places of origin, to what is simple, to the fundamental emotion of creating music and enjoying what you hear.
The use of sequencers and analog synthesizers invariably transports us to the tranquility of the hypnotic and repetitive music of past decades; but it is in the free improvisation and haphazard overlapping of layers of sound, recorded in distinct moments, that takes us out of the linear mathematics of exact repetition. The absence of traditional rhythmic sources allows us to submerse ourselves without hurry nor pressure, into the melancholy atmospheres of these four moments of sound.
FRANK BENKHO is the solo project of electronic musician Mika Martini, designer and founder of the netlabel Pueblo Nuevo. He primarily uses voice and samples from unusual sound sources and process them in real-time with effects pedals, wave generators and loop machines. In these musical states melodic fragments prevail, but as a repetitive and subtly developing mantra that never become a full statement or recognizable melody. Impressions of melodies appear, but only as broken parts that never assemble into phrases.
After studying architecture and finishing with a design degree from Universidad Católica de Chile, Mika/Frank began making minimal music that combined field recordings from Chile’s various ethnic groups with abstract sonic material in micro-sampling. Later, as an ardent member of the Chilean Electroacoustic Community (CECh), he was influenced by ideas from electroacoustic music and he began focusing his work on more experimental paths.