The compositions on this album were originally scored for an experimental documentary film by artist Miki Aurora. The film is a documentation of a plant-medicine healing ceremony performed by two women and captured on grainy security camera footage. The tracks on Benevolent Static have been re-worked and reordered to exist irrespective of the film, taking the listener through the warm static grain in an attempt to find the holy sentience that permeates the trans-dimensional glitch. Though not beat driven per se, many segments include stated and understated elements that constitute rhythm. The album spans the gamut from droning soundscapes, to minimalistic melodic forms and more structured progressions.

In the early stages of this collection of music we arrive at The Great Ease. The track begins with a comforting plea to “all-rightness” with gentle touches of distortion garlanding the edges of washes. Pert melodic stabs are met by a soft bell-like ringing signalling and inviting the onset of something “more” to come. Later, subtle warm DX7 pads with precise effect-squeezes hint at a tale which will unfold more completely as the album progresses.

When we reach _Plate Hovers_ we are already through the first surge of mystery, we plateau, and now the faces start to emerge in 3D from the painting. The shimmering chimes give space for the slightly grainy synthetic strings to create otherworldly home-like portals, memories. There is a somehow familiar voice talking, benevolent, wondrous, giving stability and support to open up. Low frequency sine waves ground the later portion.

We are through the metamorphosis-peak and now there is silence, but still a sense that Benevolence Surrounds. We hear melodic plucks of an organic un-rigid placement connecting to evolving echo patterns. Pads come in and gently morph, projecting light on the outer dimensions of the audio space, like spotlights scanning and revealing the shape of walls of a darkened room.

By Ascension there is a sense of full surrender, an arrival home. Taken from the closing resolution period of the film score, there is a mood here of work done, rebirth, letting go. Shimmering distortion glistens the edges of melodic washes, synthetic resonances ride the breaking points where transcendental sentience speaks, omkara. We are not alone, after all.

Raghunath Khe began working with electronic sound as a teenager in the UK more than 30 years ago. Their first setup included a z80-based computer with a primitive drum machine peripheral unit, which then progressed into the realms of 4-channel .mod tracking, FM synthesis, tape loop manipulation, and beyond. They have spent a good chunk of their life bending hard/software in search of unadulterated sound, but in recent years have been more focussed on simplifying the composition process, paying attention to precise sound design, ease of flow, and emotional fluency. Taking a sabbatical from the underground music scene for almost a decade in the early 00’s, Raghunath resided as a monk for several years in temples in both Canada and India.

Benevolent static marks their first full-length release since their return to composition and performance. Additionally known as a proficient DJ, they host a bi-weekly radio show on CiTR 101.9fm in Vancouver, and hold regular club residencies in the same city. They are interested in facilitating genuinely meaningful experiences for people through sound and music.