Valley Of Salt – Voice Of One Crying In The Wilderness
Valley Of Salt – Voice Of One Crying In The Wilderness – Album Review
Heck yeah, I’m interested!
And what else could you possibly hope for when you push play on a debut album, right? As the rumble of “The Love Of God Is All Around Us” settled into place, and we get our first impression of what Valley Of Salt is creating as the opening track kicks into gear, I think we’d all come to the same conclusion about this band being on completely solid ground, right quick. The instrumentation isn’t just stellar to listen to, it’s equally inventive and innovative as well. Like, you’ll range from what actually sounds fairly similar to something like early R.E.M. at the beginning of “The Love Of God Is All Around Us,” into stuff that would relate more closely with Genesis, maybe a little Heart even further down the road, before you end up in terrain along the lines of Blue Oyster Cult, and eventually the Eagles. Like – are you kidding me? Do y’all realize how far you’d have to travel through ONE SONG in order to hit all those different gears, let alone how much skill you’d have to possess in order to be able to pull it off? Credit where credit is due…Brian Stemetzki, the main composer/player at work here…I mean…clearly this man ain’t short on ideas! Despite any similarities you might find in this piece or that piece, make no mistake, what Valley Of Salt is doing on “The Love Of God Is All Around Us” is refreshingly original. I also think that, for Progressive music, it’s generating more appeal & interest than listeners outside of the genre would expect. And for those of you out there that don’t think you can hear faith-based music that rocks, this one song alone will not only prove that theory incorrect, it will absolutely wow you in the process.
That is indeed what you’re listening to though, whether or not you realize it at first. In fact, the full title of this record in all its extended glory, is Voice Of One Crying In The Wilderness: The Story Of John The Baptist – and it’s technically intended to be a Rock Opera, because, you know, nothing says I’m making a debut record like setting out to compose an entire ROCK OPERA, right? That’s seriously ambitious to say the least, and probably a little bit on the crazy side of the scenario too. Yet, as the album continues on into “Don’t Be Afraid” – how on earth could you argue any otherwise? The wild ride of ups/downs each of these songs seem to take us on…all that’s involved in the making OF them…I mean, this is absolutely authentic stuff, and it’s all been assembled with tremendous craftsmanship. I also love the fact that, either way you slice it, whether you’ve got an instrumental track like “The Love Of God Is All Around Us,” or a song that eventually reveals vocals like “Don’t Be Afraid” afterwards, Valley Of Salt is on completely solid ground. I mean…it IS a debut, so it’s not like there aren’t tiny fragments here & there where you can hear some kind of opportunity for further growth, but we’re not talking about the kind of cracks you’d normally discover in someone’s debut. Like, take “Don’t Be Afraid” for example…there are a few spots where I’d probably argue that the vocals could have potentially come out a tiny bit stronger than they end up, but we’re really splitting hairs if I’m being truthful with ya – they’re pretty much fine as they are, but Brian has left us with such precious little to pick on, that we gotta go with the small stuff! I love the epic way that “Don’t Be Afraid” builds up right from the drop, almost in a Zeppelin-esque way at the start, and the vocals were a really nice surprise too given that they don’t show up until way further in around the 2:30 mark, and none of us are even expecting them at all because the first track was entirely instrumental. Valley Of Salt seems ready, willing, and able to throw curveballs that count – and I personally dig it. The vocals were fairly reminiscent of the weary melody you’d find in Tom Petty’s tunes, but of course goes on to tell a significant tale that is sure to inspire the faith-based community.
I have always been proud to be a person that is outside the faith-based realm, but happy to listen to music from every possible genre & style under the sun. I always remind my readers that I was raised with religion…I went to Sunday School as a kid, and would more often prefer to hit up the main sermons than play a bunch of games with children my age at the time. I was, and remain, interested in religion, even though I view it all from a different perspective and don’t personally identify with it now. I still think it stimulates amazing conversations, and I’m always going to be proud of the values it taught me like having respect for everyone & whatnot. I might not agree with it all, but I do agree with some – and perhaps more crucially, I’m always interested in what interests other people, and why. When it comes to the music found in the faith-based community though…folks…I’m not gonna lie to you, and I’ve said this so many times throughout the years – it’s a genre that genuinely NEEDS champions like no other. They have suffered for far too long with the dude and his acoustic guitar for the most part, and the few bands & artists that have been outside of that format just haven’t been good enough to pull people in from their place outside of religion – you see what I’m saying? Music is one of the most effective ways to communicate your ideas, thoughts, and feelings to other people…and if I’m being entirely real with ya, I’ve always felt that faith-based music has outright squandered this amazing opportunity, leaving people with what they CAN listen to as opposed to something they’d WANT to listen to – you feel me? And yes, before anyone gets on me, I do know a few names that have beaten the odds, but they’re few and far between…my point is that there is room for so many more! I listen to a track like “Wilderness Interlude” and feel like that champion is HERE! Valley Of Salt is the band that the religious folks should be reaching for and turning UP to the rafters! C’mon y’all…LISTEN to the genius on “Wilderness Interlude” and try to tell me I’m wrong…it’s right up there with the best of the best on this whole album! And while, look, Brian and I might disagree with what an ‘interlude’ is…that’s okay…it’s our differences that make the world go around, ain’t it? You’ll have to forgive the guy, he makes Progressive music, so anything that’s less than ten-minutes long could technically qualify as an interlude…and so here in the case of “Wilderness Interlude,” which is nearly five minutes in length and absolutely stands out on its own with no additional elements required to turn this Pinocchio into a real boy…we have to have a little fun and tell Brian collectively that he’s just defied the odds and made one of the best ‘interludes’ ever if it’s not in fact, just an actual song. Super cool structure and ideas in this track from start to finish, 100%.
So look…I think a couple of things can be true at the same time. I listen to a song like “What Did You See?” and I can hear that the vocals have technique & are technically well-sung. Having said that, I also have to look at a song in terms of whether or not each ingredient that’s being added in furthers the material in some way…and I don’t know if I always felt like that was the case in either “Don’t Be Afraid” or “What Did You See?.” The question really becomes, with such strong instrumentals surrounding them, that are essentially flawless songs from start to finish – is it worth adding in vocals that don’t quite end up contributing the same degree of confidence as the music does? And I think we can have some debate about that. Again, I don’t mind what I’m hearing in the vocals on either of the tracks that have’em to this point in the record – but what Brian has to ask himself about what Valley Of Salt is going to go on to create in the future, is whether or not that’s the way he was intending for listeners to feel about the songs. As in, does he want guys like me saying they ‘don’t mind’ the inclusion of vocals – or does he want people like me ranting and raving like a lunatic and writing a half-page about a song like I just did for “Wilderness Interlude?” Because right now, that kind of seems like the choice he’s facing. There’s no wrong answer, and clearly in the context of a Rock Opera that tells a very specific story, there’s an obvious advantage in having words to clue us in on what’s being communicated…but if that’s the case, and you’re going to include them, I think we need to be every bit as wildly enthusiastic about them as we are with the music – make sense? I listen to the musicianship in “What Did You See?” and I can’t help but wonder how much more of an impact this could make without a word at all. I like the verses well enough…I’d definitely argue that the chorus is probably the most enticing moment we’ve heard from the microphone so far…but even with that as the highlight, instrumental might have been the way to go. The conundrum is clear as the day is – going instrumental makes it so extremely tough to communicate an actual story, I get it…but I suppose my point is that when your musicianship is THIS amazing, it’s absolutely critical to have vocals that can rival what we hear in the instrumentation to get the balance you want in the material overall. I like the vocals in Valley Of Salt – but I want to love them.
There are going to be tracks that are a bit tougher to absorb if you’re on the outside of religion, like “I Wait For You.” I mean, Brian’s given himself a very tough task overall here in telling such a specific story – there’s really no way of being ambiguous about the message, given the subject, which is going to have a narrowing effect on the potential audience at times…that’s objective reality, like it or lump it. Plus, in the context of a Rock Opera, you’re pretty much always going to find a few rough patches that don’t fully measure up to how much you love the most major highlights whether it’s Green Day’s American Idiot or Meatloaf’s Bat Out Of Hell & everything in between…it’s just the nature of the game, and Rock Opera or not, it’s essentially true of all albums. Personally, I really liked the final moments of “I Wait For You” – I feel like the last minute or so is where this song finally locked into its most powerful hooks, and I felt like it really takes a leap forward into the finale from whence it originally came. Up until that part, I dunno…I’m pretty on the fence about “I Wait For You” and feel like it didn’t quite get to where it wanted to go as quickly as it probably should have – and this is coming from a guy that’s always got time for a slow jam. I liked the ideas in the backing vocals…I like the shimmer of the cymbals & whatnot…and if you’re listening closely, there are also some excellent things happening from Brian’s guitar work too – but overall, beyond it containing a more overtly religious theme, “I Wait For You” probably dials the energy back too far in comparison from what we’ve heard on this album to be all that excited about it.
Regardless of what you, I, or even Brian feel towards religion, I felt like the objective reality of this album is that there really is something for most everyone to enjoy. LISTEN to the incredible ideas in the way that “He Walks” opens up will ya? Amazing stuff happening there. I also felt like having the choir come in to sing in “He Walks” was a wonderful idea as well, and they sounded spectacular. In my opinion, you’ll discover one of Brian’s most compelling & complete performances in singing this song as well – so there are lots of positives to be found in this particular tune. I really dig the vocal melody that Brian sings with between the 3:30-4:00 mark…that’s a real highlight to me. To me, it’s main strength of all strengths, is within its versatility & sonic diversity – “He Walks” is practically a Rock Opera all on its own, yet we know it’s still just one piece of many that make up the full scope of this ambitious debut project. I love, love, love the smoothness of the keys, guitar, bass, and drums on the way into this song – it’s exceptional stuff without a doubt and mesmerizing to listen to. The very definition of enchanting really. When Brian signals the switch and “He Walks” takes a turn into a more intense, adventurous sound around the 1:20 mark from where it had started – I wasn’t opposed to it, because there’s a lot of great stuff that follows, even though I was fully onboard with the way things began and kinda missed that too. I mean…while we’re somewhat on the subject Brian…if you wanna talk about an ‘interlude’ and all, that first minute & twenty seconds would have definitely qualified…just saying…and just kidding around too.
How cool is that guitar part on the way into “His Glory” y’all? What’s even more amazing is that it’s not like Brian’s necessarily trying to steal the show with it either, when he clearly could be. With the calm & controlled expertise of producer Marty Willson-Piper, it’s almost like the guitar is presented as merely another humble cog in the wheel of a much bigger machine, so the music you’ll find on “His Glory,” and indeed the album at-large, comes out with a very level evenness to it at all times. Which makes for a genuinely fantastic listening experience in my opinion, because there are some AMAZING things happening within every song, but your ears aren’t necessarily forced in a direction to listen by the simple addition of a notch or two in volume…and as a result, each time you listen, you’re bound to notice something else that’s wildly impressive in the instrumentation. Having said that, I’m sure we’ll all come to the conclusion that the main star of the show on “His Glory” still ends up being the guitar, but that’s more due to it becoming the prominent instrument than it is being featured in the way it’s mixed. Listen to the first minute of this song for example…most artists and bands would have that exceptional guitar work turned right up as far as it could go behind the red line, because it’s so powerfully innovative and authentically unique – but this is where a smart producer like Marty knows uniqueness always finds a way to stand out to listening ears without tricking them through volume. Loved the banjo breakdown on “His Glory” as well with the quaint drumming…it’s another brilliant spot for Brian’s vocals as well. Now…obviously I kind of wish we got a bit more of that rampant guitar creativity at the start of the song, because I feel like that was stunningly unpredictable, and extremely rare to find in the context of faith-based music…but I’m truly happy that it was included at all, and the finale was also good compensation.
“Machaerus” was a really interesting tune to listen to. It’s another excellent example of the Progressive way that Valley Of Salt approaches its music, and how that can have benefits and detriments to it at the very same time. Look at it this way – you’d have to have a composer’s mindset and talent to convince yourself on paper that everything that’s in “Machaerus” belongs there, yet here we are – Brian and his crew have pulled it off successfully. Fans of Progressive tunes will be impressed with just how much he’s actually been able to put into a track that’s not even five & a half minutes long, because there really are that many different twists and turns. The writing is ambitious, and the talent required to bring an idea like this to life is found in abundance here. These are the positives, but they’re also the same potential obstacles to those found outside of the Progressive realm. Like, I always use my wife as the prime example…that wonderful lady could identify the hit on any record she ever listens to and knows what the ingredients are for absolutely universal sound – but she’s equally effective in knowing what’ll make the average everyday listener restless, because that’s really what she is. I can tell ya based on extensive previous experience in testing this stuff out, that she’d feel the multiple twists and turns of “Machaerus” would make this one song feel like it’s ten, and that the five-plus minutes it runs for feel like twenty. Which to be fair, is often the effect of well-designed, adventurous Progressive music to people that don’t choose to listen to it on a regular basis – and I’m sure Brian is already well aware that it’s more of a niche genre than a mainstream one…always has been, always will be. You also can’t really help but parse it out in certain sections too…when you get something that makes so many shifts in direction and moves in different ways, you’re bound to find parts you like more than others, like how you’d identify your favorite song on an album, but all on the inside of a single song instead. The rest of the journey to get to that favorite part can often become a longer slog…and there really ain’t much we can do about that. For myself, there’s a lot to like about the way “Machaerus” begins, and even more to love by the end. I enjoyed the story the whole way through, because it wasn’t one that I was personally familiar with – but in terms of style & sound, I loved how Brian seems to shift into a very Bowie-esque sound in this song’s second third, and I also thought the way he wrapped this song up at the end was perfect. For those of you like myself that don’t know the scripture, from what I’ve learned, “Machaerus” is the site where John The Baptist was imprisoned for two years & then eventually beheaded, as told in the Bible. It makes for not just one of the most engaging stories in the songs on this album, but also for some of Brian’s most compelling lyricism found on Voice Of One Crying In The Wilderness that ties it all together.
I maintain…if you don’t find something to like or love about this record, it’s really music itself that you don’t like. Listen to those drums on the way into “Holy Holy Is The Lord” will ya? Awesome stuff. The bass is tremendous as well…the choir is awe inspiring to listen to…and while Brian has a few moments here & there when left on his own, when he’s surrounded by the rest and at full strength, he’ll go on to reveal some more of his best moments as well. Love the guitar around the 2:25 mark and the bending notes and tones you’ll find there in the lead…the production overall is completely outstanding. You want a really warm and unified sound for a track like this, and that’s exactly the way Marty pushed it. Love it! Somewhere in the songs of this record, you’ll find members of the Polyphonic Spree in the mix, and my ears seem to think this track is definitely one of’em…seems like their signature sound is in the thick of it all here. Obviously a song with the title of “Holy Holy Is The Lord” is gonna be among the most devout and religiously dedicated tunes you’re gonna find on this record, but this is kind of what I was talking about before when I was saying this genre needed a champion that is capable of bringing people in from outside of religion. I’m not saying that’s gonna be me personally, but I will say that the inspired sound of a song like “Holy Holy Is The Lord” could very well prove that Valley Of Salt is capable of being the change it wants to see in the world, and bring a few more people out there to Christ. I don’t know all that much outside of music, but I’d reckon that if a life of service is what you’re heading into and you aim at spreading His word to the masses…if you can lead a few people to the flock, you’ve done well in this life. Regardless of religion, I love the spirited sound you’ll find in “Holy Holy Is The Lord” and felt like it’s a significant highlight on this record. All I ever want to hear is confidence and commitment – artists that truly stand behind their material with pure conviction…and that’s exactly what you get in this song.
What’s THIS? Are we rolling the credits on this Rock Opera or what here Brian? I’m genuinely impressed with the decision to dial back the energy to its mellowest moment on the record with “I Receive You” for the finale, and equally impressed by how well it worked out. For how understated this last song really is compared to just about everything else we’ve heard on this album along the way, I think “I Receive You” will end up making quite the lasting impact on everyone listening. It’s flawless, that’s the reality here. Where I had the occasional issue with Brian’s vocals on mellower tracks like “I Wait For You” earlier on in the lineup, a song like “I Receive You” shows that he can absolutely find the right gear, tones, and energy when he’s really connecting to the material. In many ways, this is the performance that I’ve been waiting for from the man on the mic, and in general, I felt like his vocals really continued to get stronger the longer that the record played on. That’s probably a bit more luck than necessarily by design…I don’t think too many albums tend to be created completely in chronological order, but it’s almost like this one has, given that its second half comes out so strong. In any event, don’t go thinkin’ Valley Of Salt hasn’t saved some real fireworks for the end here – “I Receive You” will go on to expand gloriously to create a real conclusive finish to this record, and ends this debut with one of its best cuts all-around. I’ll tell ya this much folks…this is by no means any kind of typical debut whatsoever – take it from a guy that has heard plenty of’em! It’s also not your typical faith-based album either – again, I’ve heard plenty of’em, and this pretty much puts’em all into the dirt. Voice Of One Crying In The Wilderness is an exceptional record by every definition, and a genuine joy to listen to.
Find out more about Valley Of Salt from the official website at: https://valleyofsaltband.com
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