Ashley Hefnawy is like a cool comic book crusader to me. The few times that I have seen her in the flesh, it has been as if I myself am just another part of her comic book world. Even in my environment she managed to make me feel that way. Her passion and love for music are nearly unmatched, and her ability to share it with us is a gift to our very own world. She put me on to Shuggie Otis last night, somewhere high above the clouds staring at Gotham from a short distance in the backdrop. Ashley‘s world is immediately more colorful than any I have encountered. All the colors to everything somehow become enhanced; it’s trippy, and dope at the same time. Look at the artwork alone for Shuggie‘s 1971 album: “Freedom Fight”, and take notice of how rich the purple filtering to it is; how vibrant it appears, and then you might be able to see what I do.
Anyway, Strawberry Letter 23 is the definition of a sonic masterpiece.
I’ve figured out within the past few weeks that I am a complete music snob, and an audiophile. Basically, I only want the good shit.
In order to grasp the best feel for how vibrant this song is you will need a few things:
- A sound system that consists of the music not coming out of your laptop speaker, but that you can plug your laptop into.
- Speakers, and a decent subwoofer that isn’t too “crunk”. So basically, lower the intensity of your sub, if you have one, to about 2 on a 10 scale, and your treble to about 6 on a 10.
- A good pair of headphones for listening later on again because some of the instruments like the live triangle that are used can only be heard properly with headphones. The surround sound effects are much better. NOTE: HEADPHONES SHOULD NOT BE BEATS by DRE. Those distort the highs in order to give music more umph on the bottom ends.
Now, you are ready to listen. What you are about to experience is how live-orchestras sound, and hopefully it will allow you to miss some of things that made music so warm to begin with.
Somewhere down the line we started compensating great sonic recordings of live-instrument production with the digital, and we lost things. We lost the ability to feel what a beautiful bassline feels like. We lost some of the warmth to it. At 1:13, when the triangle comes in, panned left, we forgot what the echoing “tings” of it sound like in the room. Listen to how they move away like the peak of a yodel getting lost in the canyons.
I guess it helps when your dad is a legendary composer because in this day and age the same process would cost millions, but isn’t it so worth it?