by Prog Nick
I have always believed that the ingredient that makes Prog into Prog is its classical influences. Bands like Yes, Genesis and ELP were in my view always closer to Vivaldi or Mozart than to Chuck Berry or Muddy Waters. Prog’s melding of Rock and Classical techniques includes the use of more classical chord progressions (as opposed to Blues progressions), elaborate arrangements more akin to symphonies than to chart hits, and more ornate instrumentation than plain old Rock. Then, of course, there is the use of strings and, in particular, the violin – often as a lead instrument. From Jean-Luc Ponty to Robby Steinhardt, Eddy Jobson to Ray Shulman, Prog has regularly and proudly employed the services of fine strings players.
Violinist Joe Deninzon is one of these, and he is a ubiquitous one at that. From popping up in bands such as In Continuum to delighting the pro-am passengers on Cruise to the Edge, from headlining Progstock and Progtoberfest, to now, since 2023, being a featured member of Kansas, he is an in-demand musical resource indeed. But not to be forgotten is Deninzon’s main personal project outside Kansas, his own band ‘Joe Deninzon and Stratospheerius’, formed in New York in 2001. With various line-ups and several albums under its belt, Stratospheerius returns in 2024 with its latest studio album ‘Impostor!’, which has been six years in the making.
Deninzon is the main architect, but he is more than ably accompanied by the core band of Michelangelo Quirinale on guitars, bassist Paul Ranieri, excellent drummer Jason Gianni (a Neal Morse alumnus) and the wonderful Bill Hubauer of NMB on keyboards. Whilst many of us know Gianni and Hubauer from their Morse-related exploits, Quirinale and Ranieri are nonetheless outstanding musicians who absolutely hold their end up. This is, simply put, a great band.
Deninzon performs most strings and lead vocals on ‘Impostor!’, also acting as producer, and the album was mixed and mastered by the legendary Rich Mouser. This of itself is an impressive personnel list, but the album also sports no fewer than fifteen lofty guest appearances including, to name but a few, vocalists Michael Sadler, Chloe Lowery and Randy McStine, the multi-talented Rachel Flowers playing keyboardss and flute, guitarist Fernando Perdomo, Deninzon’s wife Yulia Ziskel on additional violin, and Ruti Celli on cello. Deninzon often plays a seven string violin which in my opinion belies his reputation as the ‘Hendrix of Electric Violin’. To me he sounds more like the ‘John Petrucci of Violin’, and I can pay him no higher compliment than that.
‘Impostor!’ explores a number of lyrical themes that are quite imposing, including cancel culture, dystopian big brother syndrome, the damage done by religious intolerance, humanity’s constant state of anxiety and, of course, impostor syndrome. But the lyrics are never too heavy for the music, which at no time loses its Classical melodic appeal. Stratospheerius are a class act and I am, quite frankly, mystified as to why they have not commanded more of my attention until now. ‘Impostor has rectified this oversight in short order. It is, quite simply, a fantastic album, and one that cannot be ignored by any aficionado of Prog.
‘Voodoo Vortex Part II’ kicks off the album in a poweful manner. Crazy Prog timings and massive intrumental lines immediately engage the listener and portend that something special is at hand. Think Jean-Luc Ponty at his frantic best, in a modern context. Immediately thereafter, the beautiful melodies of ‘Outrgage Olympics’ confirm that this album is likely to be a top-drawer offering. The track is outstanding and immediately showcases Deninzon’s dynamic range as not just a singer, performer and producer, but most importantly as a composer. The song is also highly topical, tackling the matter of humanity’s over-sensitivity and the attack on free speech. It starts off intentionally sad, but then develops into a crunchy and visceral attack on cancel culture, with some great grooves.
The title track (labeled as an ‘explicit version’) is a frenzied cornucopia of passion and variety. Deninson plucks and sweeps, rakes and riffs, stabs and strikes, and the band (including McStine on guitars) is elevated to play off his frenetic violin riffs in the most impressive fashion. Imagine a mixture of classic Kansas and Ted Leonard-era Spock’s Beard, with an additional stab of musical spice. Hubauer and Quirinale are not afraid to rival Deninzon in the interwoven solo parts, and the result is a courageous and pleasing song that resolves into a massively catchy but weighty hook. Messrs Quirinale and Hubauer should take a bow alongside their intrepid violinist.
McStine’s recognizable vocals usher in the song ‘Cognitive Dissonance’, and he is perfect for it. It becomes clear that, in addition to all his other obvious talents, Deninzon is a master at selecting the right voice for any particular track, and the result on this one is stellar. Not only singing on this track but also delivering guitar parts elsewhere on the album, McStine continues to deliver top performances that fortify his reputation as a go-to resource in Prog. The track is powerful and balanced, dealing with the dangers of religious intolerance in a sensitive but also brave and powerful manner. McStine delivers the message with sheer conviction and the band are on fire behind him. Deninzon has a knack of delivering elaborate and difficult licks that, whilst prominent in the mix, never threaten to overshadow the excellent performances of his band-mates. The interplay creates a fine tapestry of brilliant hues, and ‘Cognitive Dissonance’ is a fine example of that.
‘Storm Surge’ is classical to its core. It features Saga vocalist Michael Sadler, and again, he is perfect for the role, his highly dramatic voice being used to its full effect. Classical and almost operatic in places, this track is the fullest exposition of the theory that Prog and Classical music are close cousins. Sadler co-wrote the piece with Deninzon and Gianni, apparently inspired by 19th-century Classical composer Friedrich Burgmuller. But do not think for a second that it is all strings and harpsichords and that the 2024 Prog proclivities are abandoned. Far from it. Followers of Symphonic Rock will love this song. Rachel Flowers’ flute solo and piano parts are just wonderful, and Perdomo and Celli give performances that round off the track beautifully
Then Deninzon does the unthinkable and covers King Crimson’s ‘Frame by Frame’. I have heard this song in it’s original form, I have heard it performed live by Adrian Belew and his trio, I have even heard it done on ukuleles by Nick D’Virgilio’s UniKue, but I have never heard a version like this. To say that ‘Frame by Frame’ is perfect when its main riffs are played on violin, especially this well, would not be an overstatement.
Then glorious melody overtakes the listener’s senses again on ‘Voodoo Vortex Part I’. Ethereal and hazy to begin with, it develops into an expansive arrangement in 11/8 timing that, despite its complexity, will have your head bobbing. The weaving interplay between Deninzon’s violin and Hubauer’s keyboards will enrapture you, and Gianni holds it all together perfectly, with an economical yet elaborate approach. He is a very fine drummer indeed.
‘Tripping the Merry-Go-Round’ takes us back to the Classical world (including two guest cellists), but in the quirkiest possible manner. It is an interesting little ditty, but delivered with great classical flair and panache. The song is, in Deninzon’s own words, ‘as If Gentle Giant wrote Eleanor Rigby’. Precisely.
The epic “Chasing the Dragon” is over twelve minutes of beauty, power and variation, co-written by Deninzon and Gianni, who features as co-composer on several of the tracks. Gianni, always respected as a drummer, has been underestimated as a composer – until now. The lyrics explore the theme of humanity’s constant search and yearning for the attainment of elusive goals that are just out of reach. There is a great guest vocal by Chloe Lowery of Trans-Siberian Orchestra, but the true star of the show is, as always, Deninzon’s overall vision and mission to create a perfect blend of symphonic Prog. This is a real song of extremes. It is at once elegant, understated, bombastic, harmonious symmetrical and well-proportioned, just as Deninzon and Gianni no doubt envisioned. A melodic and punchy start leads it (by way of a ringing alarm clock) into the nastiest Rickenbacker bass riff you have heard, from Ranieri. The track then ebbs and flows, fluctuates and alternates, and stacks up with any epic of this year. The composers’ vision was obviously to create a comprehensive Prog epic with all the necessary constituent parts thet modern day Proggers have come to expect, and this vision is cohesively brought together by great composition, performance and production. A real contender for epic track of 2024.
The album includes a ‘clean’ (or non-explicit) version of the title track as a final offering, and the album ends, quite appropriately, with a unitary five-second solo violin riff from Deninzon, to bring matters to a close.
‘Impostor!’ is a great album by a truly great band. And it deserves great recognition. It is a superb exposition of how classical music proclivities (and training) can be inserted into Rock music without making it sound dated. If employed with just the right amount of bombast and finesse, as is the case on this album, this technique will create a fabulously listenable and pleasurable 21st century musical experience. If you like Vivaldi, you will feel right at home, but if you enjoy Spock’s Beard or NMB, even more so. Even if you just prefer great Rock, you will find the right adventure in this album. With excellent composition and production, a seven-stringed instrument conferred by the angels, brilliant drumming, guitar, bass, keys and vocals and outstanding production, this album is more than just another good Prog album. It is a veritable classical gas.
Released on Oct. 11th, 2024
Order ‘Impostor’ here:
https://7dmedia.com/impostor
1) Voodoo Vortex (Part II) 1:42
2) Outrage Olympics 4:53
3) Impostor! 8:16
4) Cognitive Dissonance 4:56
5) Storm Surge 6:20
6) Frame by Frame 5:21
7) Voodoo Vortex (Part I) 5:19
8) Tripping the Merry-Go-Round 1:53
9) Chasing the Dragon 12:22
Joe Deninzon / lead vocals, electric 7-string Viper violin, acoustic violin, viola, chin cello, acoustic guitar, bass
Michelangelo Quirinale / guitars, backing vocals
Paul Ranieri / bass, backing vocals
Bill Hubuaer / keyboards, backing vocals
Jason Gianni / drums, percussion, backing vocals
