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Salem Hill - interview May 2005


Victory: Hi Carl, for those who are unfamiliar with Salem Hill. How would you describe your band?
Carl: We're a rock band whose aim is to write music and lyrics that inspire folks to think about who they are, where they come from and what their purpose on our planet is. We do this on a large scale mostly, and thus, we're labeled as a progressive rock band.



Victory: ...and tell us a little bit about your history?
Carl: Kevin Thomas (drums and vocals), Patrick Henry (bass) and I all met at Belmont University in Nashville, Tennessee in the mid 1980s. We worked together under various names and with various other musicians until forming Salem Hill in 1991. I recruited my childhood friend, Michael Dearing (guitar, vocals, keys) to complete the band. For a 4 year period in the mid 90s, Michael left the band. He returned in 1997 and we've been together since.



Victory: You've released many albums, of which many are concept albums of some >sort. Can your give a short description of every album, both musically and >lyrically.
Carl: The first two albums, "Salem Hill" and "Different Worlds" are not conceptual. Our first concept album was 1997's "Catatonia." It is a story about a man born without the ability to dream. However, as compensation, he is able to self-induce these catatonic states where he is able to travel inside himself and mingle in a fantasy world with his favorite literary characters. Disgusted by the decadence of reality, he eventually plans to enter Catatonia forever, not really caring about the effect it will have on those that love him. However, while in this vain attempt to escape reality, he experiences his first dream and it's about the final judgment. He is disturbed to discover that he is among the Lost. Needless to say, once awakening from this dream, he's a changed man. But as fate would have it, leaving Catatonia isn't as easy as he thinks it'll be.

In 1998, we released another conceptual work, "The Robbery of Murder." Sadly, the impetus for this story is based upon a real tragedy that occurred with a woman I used to work with. Her husband was killed by a drunk government driver and their little boy was in the car when it happened. I took that and wrote the rest of the story--really an exploration on the waste and self-destruction of revenge.

Our other conceptual work is 2003's "Be." "Be" is a story about loneliness and isolation, epiphany, but ultimately resignation. Of all our conceptual works--even "The Robbery"--"Be" strikes me as the most tragic. It's also my favorite.



Victory: Rumours tell that a new "epic-filled" album is on the way. Can you >please tell us about it.
Carl: Indeed, we've recorded the bulk of 2 songs, both clocking in over 14 minutes. We have demoed tracks for 3 other longer pieces. The songs are "The Joy Gem"--about man's relentless pursuit to obtain joy by selfish means instead of letting Christ bestow it; "Stolen by Ghosts"--a beautiful lyric about loss and how it changes us; "Lee's Ashes" (working title)--about deception; "The Future Me"--inspired by a George MacDonald quote I read in which he reminds us that God already sees us how we will be once clothed in Christ, not how we are at this corruptible moment in time. It struck a chord with me and I'm really excited about this one. The last piece is an instrumental by Pat which is entitled "Intemplate Discord"...at least that's what he's calling it this week.



Victory: Will the sound contine to progress as in your latest releases (BE, not >everyone's gold) or will it be back to the "roots" like your earliest >albums?
Carl: Actually, I think "Be" is fairly stripped down, certainly compared to "NEG", "TRoM" or even "Catatonia." This album...at least so far...has taken on a completely different personality to anything we've done. Although lyrically and instrumentally we're doing what we've always done, there's actually more of a jazz quality to this album. I've been playing a lot more piano outside the band and that has influenced the sound in that the three songs I've written or contributed music for are quite piano-centered. It's quite the contrast to our last one as "Be" is so guitar-centered. But piano has always been my favorite instrument so I'm not terribly upset by it's prominence on this new album. This album is also the most symphonic album we've done as each song has quite a bit of development and color changes throughout. However, to summarize, I would say that the jazziness of the album has been the most surprising, even to us!



Victory: Will we ever see Salem Hill in Europe on tour?
Carl: We've flirted with the idea for years, but our former label in Europe was never willing to support us even getting over there. It would take a lot of work and a lot of money but we'd love to come over. Over the years, I'd estimate that 60% of the albums we've sold have been in Europe. So there's certainly an audience. Like I said, we'd just need a little help to make it happen.



Victory: I also heard you had a jam with one of my favourite artists, Neal Morse. Can you consider do a project with him in the future?
Carl: I'd met Neal last August while he was mixing "One." It was cool watching him with his music because it reminds me of the exhuberence all musicians experience when they first learn to play. I remember it from when I was eleven or twelve. Unfortunately, I also believe that becoming a professional musician is a recipe for losing that joy. Finally getting to play with him a few weeks back showed me that Neal hasn't lost it, though. He still giggles at cool stuff. It's infectious and wonderful to be around. As to working with him, it'd be great. He's easily the most prolific composer I know. If I got a request to guest on his work, I'd be at his house before he could finish asking. As far as a project...hard to say. Again, I think it'd be great, but I'm not sure how he works with other writers. It'd be cool to find out, though, eh?!



Victory: Which 5 albums are your alltime favourite ones?
Carl: Roger Waters' "Amused to Death", Kevin Gilbert's "Shaming of the True", Yes' "Tales from Topographic Oceans", Klaatu's "Hope", and King's X's "Gretchen Goes to Nebraska."



Victory: Thank you and God bless you and your band!
Carl: Thanks and right back at you!