New Jersey-based progressive rock songwriter Brian Stemetzki is the creative force behind Valley of Salt, a project that combines complex melodies, thought-provoking lyricism, and a passion for vintage instrumentation. His latest release, Voice of One Crying in the Wilderness, is an ambitious concept album inspired by the life of John the Baptist, blending elements of progressive rock, symphonic arrangements, and gospel influences to tell a an unconventional story. In this interview, Brian discusses the album’s thematic depth, his collaboration with Marty Willson-Piper of The Church, and how vintage guitars and analog gear helped shape the sonic landscape of this progressive rock odyssey.
“Voice of One Crying in the Wilderness” is a concept album based on the story of John the Baptist. What inspired you to choose this particular narrative for your rock opera?
I was inspired to write about John the Baptist through progressive rock after working with Marty Willson-Piper from The Church, All About Eve, and The Saints. I started meeting with him via Skype through his Guitar Guidance/Sessioneer series. We spoke about songwriting, and he noticed I had a talent for composing more complex music. Knowing about my faith, he suggested I write about John.
The album explores themes of faith, individuality, and transformation. How do you balance these profound themes with the musical elements of progressive rock to create a cohesive story?
It actually came quite naturally. I follow John’s story from his birth to his death, and the songs and sounds seemed to flow organically from his journey. Progressive rock was the perfect fit for telling this story.
You worked with the legendary Marty Willson-Piper on production. What was his influence on the album, and how did his vision shape the final sound?
Marty is a fantastic musician and producer with a great ear for progressive rock. Through our Skype meetings, he helped shape both the story and the sound of the album, guiding me toward a cohesive vision.
What was the collaboration process like with the various musicians from Dallas, the Polyphonic Spree, and the Fort Smith Symphony? How did their contributions enhance the overall sound of the album?
Working with the musicians from the Dallas area was incredible. They were all first-class musicians. The album wouldn’t sound the way it does without them. Their expertise and creativity brought the music to life in ways I couldn’t have imagined.
Your album features a rich blend of vintage instrumentation. How did you decide on using instruments like the 1966 Rickenbacker guitar and the 1972 Fender Stratocaster to help tell this story?
Using vintage instruments and amps was really important in crafting the sound. No digital plug-ins were used. John the Baptist was a wild and rugged figure, and I felt that vintage guitars and analog gear matched his character and the atmosphere of the story.
“Voice of One Crying in the Wilderness” is often compared to “Jesus Christ Superstar” for its bold storytelling. How do you feel your album pushes the boundaries of traditional progressive rock and storytelling?
I don’t think there has been a progressive rock album that tells the story of John the Baptist. I didn’t set out to push boundaries—I just wanted to tell John’s story through music. But after listening to the final product, I think it stands apart from other albums in a unique way.
What role does the gospel community from Dallas play in the album, and how do their vocals tie into the themes and message of the music?
The gospel choir from Dallas played a huge role in this album. They were total professionals who really understood the message of the album and brought an emotional depth that perfectly complemented the music.
How did you approach the songwriting for such an ambitious project? Were there specific moments in the writing process that felt particularly challenging or rewarding?
I approached the songwriting with the hope of creating something that would inspire people. I spent a couple of years writing the album, dedicating about two hours a day to it. The most rewarding moment was hearing the album finally mixed and mastered—it was an amazing feeling.
The album is described as a musical odyssey. How do you want listeners to experience the journey of John the Baptist, and what emotions do you hope to evoke through the music?
I want listeners to take away the message of the album in a way that resonates with them personally. Music can speak to people in different ways, and I hope this album offers a sense of hope and inspiration.
What does the album’s title, “Voice of One Crying in the Wilderness,” symbolize in the context of the story and the themes you are exploring?
The title is directly taken from the Bible. John was a lone voice calling out to people about his faith, and I think it perfectly encapsulates the essence of the album’s message.
As both a guitarist and lyricist, how do you balance these two roles when working on a project of this magnitude? Is there a particular approach you take when integrating music and lyrics?
I generally write both at the same time. I try to balance the lyrics and music so they fit seamlessly. When writing lyrics, I consider the emotions behind them and choose the best instruments and arrangements to enhance their meaning.
How do you view the role of progressive rock in today’s music scene, and how do you hope Valley of Salt’s music contributes to that?
I hope Valley of Salt’s music contributes to the progressive rock scene by bringing back the art of storytelling through concept albums and rock operas.
What was the recording process like, particularly working with such a diverse group of musicians, including symphonic elements, gospel influences, and progressive rock arrangements?
It took about two months to record the album, with long sessions running from 10 AM to around midnight. We started with basic drum and bass tracks, then added guitars, followed by vocals and other instruments. It was a challenging but incredibly rewarding creative process.
This album represents a culmination of your lifelong passion for music and storytelling. Looking back, some of the most influential moments were working with Marty Willson-Piper and collaborating with world-class musicians. The entire experience reinforced my belief in the power of music to tell compelling stories.What are your hopes for “Voice of One Crying in the Wilderness” upon its release, and what message do you want listeners to take away from the album?
I hope listeners connect with the music and feel inspired by John the Baptist’s story. If this album can bring hope and reflection to people, then I’ve accomplished what I set out to do.
Now that the album is finished, do you have plans to take Valley of Salt’s music live? How do you envision presenting this rock opera on stage?
Yes, I absolutely want to bring this music to a live setting. I envision a theatrical performance incorporating visual storytelling, lighting effects, and a full band to bring John the Baptist’s story to life in an immersive experience.
Voice of One Crying in the Wilderness is available on Bandcamp. Follow Valley of Salt on Facebook.
