Feature: Hughes Decodes “Despite The Distance (Album Version)”
Photo Credit: Evelyne Straker
How does "Despite The Distance (Album Version)" differ from your previous work?
Benji Strakers: “Despite the Distance (Album Version)” marks a significant evolution for me, both emotionally and sonically. Compared to my earlier work, this version feels more expansive and intentional—like I had the time and clarity to fully realize the song’s potential. One of the biggest changes is that over the past year, I’ve grown from being a solo performer to working with a full backing band, and that shift really shaped the arrangement. The song now has a fuller, more dynamic sound, with each instrumental part bringing its own energy and texture. The production is more polished, and the emotional weight of the lyrics comes through with a new kind of strength. It's still rooted in the themes I often explore—connection, longing, and resilience—but this version leans into those ideas with more depth and confidence.
Were there any specific recording techniques or equipment used to achieve the desired sound?
Absolutely—recording this album was a very hands-on and personal process. I tracked and engineered everything myself in my home studio, which I call The Penalty Box, using Logic Pro X. Over the years, I’ve built up a collection of microphones, but my go-to for this album was the Blue Kiwi. It just works incredibly well with my vocals and helped capture the tone I was after.
All the acoustic guitars were layered—double, tripled, even quadrupled in some spots—using a few different instruments to get that rich, textured feel. A local musician lent me his 1940s Harmony archtop for a few sessions, and you can actually hear it in the intro of “Despite the Distance.” Right before recording started, I also picked up an Eastman Casino-style hollowbody with a Bigsby, and that became the backbone for all the electric guitar parts on the album.
Once tracking was done, I sent everything to my friend and producer Dan Ponich at Park Sound Studio in North Vancouver. He co-produced and mixed the record, really bringing out the best in each track. Mastering was handled by David Collins in Los Angeles, whose work added that final layer of depth and polish. One of the finishing touches that really brought the album to life was working with an amazing pedal steel player from Chicago named Doc Brown—his playing is featured on most of the songs and added a whole new dimension to the sound.
Is there a particular message or theme you hope listeners take away from "Despite The Distance (Album Version)?"
At its core, “Despite the Distance” is about holding on to connection through separation—whether that’s physical, emotional, or even the passage of time. But more specifically, it’s written from the perspective of a father watching his son or daughter grow up before his eyes. There’s a deep sense of longing in it—a desire to re-experience those fleeting moments from the past—but it’s balanced by pride in who they’re becoming and where they’re headed.
The album version expands on that feeling with a fuller arrangement, giving the sense that even when we're apart, there’s still movement, still momentum. If there’s one message I hope listeners take away, it’s that connection can endure. Even when it feels fragile or far away, there’s still something real holding us together. I think a lot of people have experienced that in different ways, and my hope is that the song offers a bit of comfort or reflection for anyone navigating change and holding on to love through it.
What is your creative vision as an artist?
My creative vision as an artist is to tell honest, emotionally resonant stories—whether they come from personal experience or from observing the world around me. I’m drawn to themes of memory, connection, loss, and change, and I try to write songs that feel lived-in, like they’ve carried some weight. I want my music to create space for people to reflect, to feel seen, or even just to sit with something they haven’t fully processed yet.
I’m the guitarist and songwriter for the heavy stoner/doom rock band Gnarwhal, which has been my main musical outlet for a long time. I love the intensity and power of that project, but Hughes has become a kind of reprieve from the noise—a quieter, more intimate space where I can really focus on songwriting and scratch that country/folk itch. It lets me tap into a different emotional register and explore a softer, more nuanced kind of storytelling.
Sonically, I’m always trying to blend organic, rootsy textures with a bit of atmosphere and edge—balancing warmth and intimacy with dynamics and depth. Whether I’m working solo or with a full band, I want each song to feel like it has a soul—something you can return to and hear differently depending on where you're at in your own life.
Are there any upcoming projects or releases that you're particularly excited about?
I’m really looking forward to what’s coming next! The next single from Hughes, “Passerby,” drops on June 13th, and the full self-titled album will be released on July 11th. We’ve already got a few festival appearances lined up for the summer, and I’m also considering plans for a fall and winter tour in 2025 and 2026. On top of that, I’m hoping to start writing and demoing new material this fall to keep the momentum going.
Outside of Hughes, I just wrapped up recording a new Gnarwhal album, which is slated to come out later in 2025. I’ll be touring with the band this summer as well, which is always a blast. It’s a busy time, but I’m really excited to keep exploring both projects and sharing new music with everyone.
