by Joe | May 29, 2007 | Headspace, Reviews
Stratospheerius – Headspace
By Greg Olma
Overall Review
Stratospheerius is really a vehicle for the talents of Joe Deninzon. His electric violin is the main focal point of the music and although the other musicians in the band definitely hold their own, it would be hard to take him out of the equation. I am reviewing this after just seeing my first concert by Stratospheerius so some of the tracks are still fresh in my mind. What I find captivating about the CD is that although many styles are brought to the table, they somehow live comfortably together within the context of the songs. There is a little jazz mixed in with rock on some tracks while on other tunes, the band melds in some country and funk parts that give the whole album a little bit of a prog feel. With that odd mix of styles, this project could have gone horribly wrong but Deninzon and company keep things musical so that the listener is kept interested but not overwhelmed with styles and sounds. Only 4 out of the 10 songs on offer here are instrumentals so it really is an album for the masses (not just the musos out there). My recommendation is to put away your pre-conceived notions of the violin (this is not The Charlie Daniels Band) and give the record a shot.
Track by Track Review
New Material: The album starts off with an almost country feel but during the verses, a little bit of The Police comes through. The chorus goes into a totally different direction making it almost 3 different songs. It all somehow fits seamlessly making it the perfect opening track. There is also a nice electric violin/guitar interplay during the solo section.
Old Ghosts: It’s the second song and I’m already hooked. This track has a little mix of Steely Dan and later day Toto but most importantly, it has an effortless feel that is contagious. I guarantee that you will be tapping your foot to this tune before it finishes.
Sold Out: As mentioned earlier, this cut really has a jazz rock sound to it. There is a nice violin solo that fits the cut without being over the top. Deninzon’s restraint really shows that he is true musician by making sure the song comes first, then showing his talents second. Had he over did it on the solo, it would have ruined the track.
Today is Tomorrow: This song starts off slowly but builds until the chorus where it gets quite heavy. During the verses, it has a very Police-like sound, especially in the vocal delivery.
Mental Floss: Instrumentals are not always my “cup of tea” but Stratospheerius know how to keep it interesting. The tune starts off with a Jethro Tull/Joe Satriani hybrid that even adds in some Pink Floyd sounds. Even though the track goes in a few directions, it all comes back to where it started wrapping things up nicely. It is hard to believe that the cut is 6 and ½ minutes long because it goes by quickly.
Gutterpunk Blues: This instrumental cut has a mandolin intro but once it gets going has some heavy Black Sabbath style riffing. There are some Jethro Tull sounds thrown in there for good measure making this one of the heavier pieces on the album.
Driven to Tears: If you guessed that this is a Police cover, you would be correct. Stratospheerius does the song justice by staying close enough to the original but adding their own flavor to it. It is not a straight cover of the song and that is why it works. If you are going to pull out a popular track, then you have to add something of yourself to it; and that is precisely what the band does.
Yulia: This cut is definitely the showcase for Joe Deninzon’s talents. At times, it has a little bit of a classical feel but it builds into a heavier tune as it moves along. Because most of the music on this CD is upbeat, this instrumental somehow feels sad; as though the violin is mourning the loss of someone.
Long Rd.: Aside from the chorus this track is pure funk. The chorus is repetitive but the rest of the tune has a nice groove.
Heavy Shtettle Part II: Heavier Shtettle: The name makes you think of Led Zeppelin and that is precisely what this tune gives you. This is Stratospheerius’ version of “Kashmir” which is heavy in a different way to let’s say Black Sabbath. It makes me want to go and hear what Part I sounds like.
by Joe | May 29, 2007 | Articles
Led by electric violinist/vocalist/mandolinist Joe Deninzon, Stratospheerius unleash their fourth collection of songs. Hot on the heals of their acclaimed CD, Live Wires, Headspace brings their live energy into the studio. Vocal rock anthems like New Material, Old Ghosts, and Today is Tomorrow, shout alongside some ripping instrumentals. From the bluegrass punk of Gutterpunk Blues, to the psychedelic roller coaster ride of Mental Floss, and the bigger and louder sequel to the Heavy Metal Hora Heavy Shtettle II. The disc also features a unique cover of The Police Driven to Tears. This album is filled with memorable hooks alongside the without a net instrumental jams the group has built its reputation on. Influences range from theMahavishnu Project, Mr. Frank Zappa and the mightyZeppelin, to Dave Matthews, Radiohead, Jeff Beck, andBela Fleck.I had the chance to chat with Joe to discuss the new album, the strangest billings he’s been a part of and,well just…
LISTEN TO OUR CONVERSATION HERE
by Joe | Apr 29, 2007 | Articles
Stratospheerius – Live in Chicago, IL, April, 2007
By Greg Olma
I always find it a little daunting to review a concert by a band that I know nothing about. Such was the case with the Stratospheerius show at Martyr’s on April 23, 2007. I did a little leg work beforehand, looking on the Internet and listening to mp3 samples, but I was still pretty “green” as show time approached. Ultimately it didnât matter what I knew (or didn’t know, as it were) because you either make a connection with the music or you don’t. Well, I’m happy to say, the connection was made and I have since held Stratospheerius as one of my new found gems.
I purchased the new CD prior to the show at the merch booth thinking that maybe a couple of tunes would be played that night. Those fans that knew Joe Deninzon and company were still in for an evening of new music. The new album Headspace wasn’t available yet (except at the shows) so pretty much everyone in attendance was just as “green” as I was to the new material. 70% of the set was culled from the new record which would have been the kiss of death for most bands but for Stratospheerius, it was all about music and not whether it was familiar or not.
I have read that Joe Deninzon is the “Jimi Hendrix of the electric violin” and I can see why this statement is true. Deninzon played his violin, creating a lead guitar sound that just dripped emotion. Like Hendrix, he used his instrument to paint the musical picture in his head. It was certainly not a “let me show you what I can do” display. The other obvious comparison is that Hendrix never played a song the same way. Deninzon and company follow suit by improvising parts during tracks that add at least a few minutes to each song. By nature, improvisation is spontaneous, and you could tell that each member played where their mood took them. It must have been fun for the band to play this way because each show is fresh and exciting.
The highlights of the show for me were “Driven To Tears” (the Police tune), “Old Ghosts” (my favorite off the new record) and “New Material.” Although Joe Deninzon is the leader, the other band members are no mere sidemen (or sidewomen). Lucianna Padmore (drums) and Mack Price (guitars) were given space to play and “show their stuff.” They all looked like they were having fun up on stage. Stratospheerius have carved out a nice little niche for themselves by being a technically proficient band that both musicians and non-musicians can enjoy. For those folks out there that are looking for a night of good music, check out Stratospheerius. You just might make the same connection that I did.
Photos by Greg Olma
by Joe | Jul 29, 2006 | Fiddle Trip Funk Live!, Reviews
It’s the full-on electro-fiddle-trip-funk experience! Outrageous fiddler Joe Deninzon and his explosive band Stratospheerius make for an amazing live show, and now you can own your very own snapshot of their onstage pyrotechnics. Zipping through fusion forests, stopping at jazz joints, and letting the funk flow freely, their music encompasses worlds of instrumental wonder and mind-blowing performances!
1- What’s That Thang
2- Pleasurepain
3- Theme From The Simpsons
4- Old Ghosts
5- New Material
6- Intros
7- Shock Therapy
Released 2/21/06
CLICK HERE TO PURCHASE
by Joe | Feb 21, 2006 | Articles
Electric violinist/singer Joe Deninzon formed the rockin’ psycho-jazz, trip-funk Stratospheerius in 1998. Appealing to jam band fans, musicians who admire musicianship, as well as Frank Zappa and Jean-Luc Ponty admirers, the quartet is touring in support of Live Wires.
You were born in Russia and immigrated to America when your classical musician parents joined the Cleveland Orchestra. Were they disappointed when you ventured away from your classical training towards jazz and rock?
It’s hard to say because they always fed my interests. They would buy me amps and gear that I needed, and encouraged me. But every parent’s fear is that you won’t get a steady job and the orchestral path is a more-steady working situation/ I think deep down inside they wanted me to be a classical cat.
What artists originally drew you in that direction?
I was watching MTV in the early 80’s and everything was there, from Twisted Sister to Michael Jackson to Yes, and I just fell in love with rock n’ roll. In high school, I got heavily into Kiss, Led Zeppelin, Aerosmith, Jimi Hendrix, and Black Sabbath.
I took up bass. It was the first instrument I learned to improvise on. I wanted to start a band and no one played bass. It had four strings and a violin had four strings, so how hard could it be?
So then in my high school jazz band, I had a good teacher—when I was 15—that turned me on to Miles Davis and got me really into jazz. The I eventually started to play guitar. And those were the instruments I really learned to rock-out on before I learned to rock-out on the violin, even though I had beenplaying violin since I was 6.
As far as technique is concerned, do you attack the violin the way Jimmy Page does his guitar?
I would think, yeah. I beat it up pretty brutally. I think I approach…in my head I’m hearing Jimmy Page, because those guys had a bigger influence on my violin playing than Itzhak Perlman did.
I noticed on the song “Heavy Shtettle” you inject an obvious Middle Eastern melody.
Definitely. On purpose. Alex Skolnick was in my band at the time and he had always been joking that when he was living in San Francisco that people would tell him he should start a band called Heavy Shtettle, like a klezmer metal band. I had this Middle Eastern melody floating around, so I brought it to him and he completed the song. It’s a celebration of our Jewish roots and our metal roots.
The violin is an instrument of both high culture and the folk culture of the commoner. A big divide exists.
I wish there was a way to break that connection because people sometimes feel intimidated by classical music and feel it’s over their heads. We should try to bridge the gap and try to get people into it because there’s a lot that can appeal to basic human emotion. I was just at the NAMM show and I saw so many kids playing electric violins. When kids see you can rock-out on the violin and do more than just play Mozart, then they get turned on and think playing violin is pretty cool.
