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New review of Joe Deninzon’s book “Plugging In” in American Strings Journal





Joe Deninzon. Mel Bay, 2012, $32.99

Deninzon,  a seven-string electric violin virtuoso, has written a remarkable book, demystifying the technique and technology of the electric violin, Plugging In is intelligently organized, providing necessary information to make music through the electric violin. Deninzon answers many basic questions, e.g.: How do I shop for an electronic violin? What kind of amp should I buy? How do i get this equipment ro work? Deninzon also explores improvisation and specific techniques like “chopping,” “comping,” and using pedal effects. He also includes over sixty different musical examples, a sixty-minute DVD< and seventy-minute CD. Plugging In provides a welcome catalyst towards my goal of joining the twenty-first century.


The Next World review for by Wildman Steve

Out of this world album

Wildman Steve

For The Corner News

Published: September 5, 2012 1:32:17 pm

Joe Deninzon is a Russian violinist born to two members of that country’s leading Philharmonic Orchestra. He’s been labeled “The Jimi Hendrix of the Violin” by many, due to his extreme virtuosity on the seven-string electric violin. That’s right—seven strings. His style throughout his career has blended jazz, rock and gypsy music in ways no other could possibly imagine. He’s performed with an amazing array of musicians, including Sheryl Crow, Bruce Springsteen, Phoebe Snow, Everclear, Ritchie Blackmore, Smokey Robinson and Les Paul, just to name a few. He’s also performed as a solo electric violinist with the New York Ballet.

Deninzon leads the band Stratospheerius, who’ve just released their fifth album, “The Next World,” on Steve Vai’s Digital Nations label, and once again shows the world that Russians and Americans can make beautiful and exciting music together. Actually, exciting is too tame a word for this album, as it opens with the astounding “Release,” a smoking progressive rocker that will suck you into this album like an industrial vacuum. What follows is a thrilling array of songs that run the gamut from complex prog tunes to simple ballads, from Zappa-esque epics to alluring soundscapes. Deninzon’s acuity on the violin is multi-faceted and consistently over-the-top amazing, and always deeply musical.

You’ll hear nods to influences like Jean-Luc Ponty, Jerry Goodman, and Dixie Dregs’ Allen Sloane, but through it all Deninzon presents a unique personality and perspective on the violin. “The Next World” is an electrifying album, guaranteed to take you into the stratosphere and beyond.

The Next World review by Mike Popke for



The fact that in-demand electric violinist Joe Deninzon has performed with everyone from Bruce Springsteen and Ritchie Blackmore to Johnny Mathis and Smokey Robinson suggests that his band Stratospheerius has broad appeal. And does it ever!

This New Jersey-based outfit’s distinct hybrid of progressive rock, jam band, funk, jazz and Gypsy influences turns Stratospheerius’ latest album, The Next World…, into a formidable musical beast. The disc opens with “Release,” a track that evokes Kansas’ savvy use of violin, borrows a reggae-pop beat and boasts an elegant vocal arrangement akin to Spock’s Beard. The Yes influence begins showing up in “The Missing Link,” the manic “Tech Support” bounces along like something Umphrey’s McGee could have written, “Climbing” has a late-summer country-rock groove that would work on mainstream radio, and “The House Always Wins” is a sparse blues ditty.

Lyrically, Stratospheerius is just as adventurous, with Deninzon’s chameleon voice shifting on each song, not so much dominating these tunes as inhabiting them. And a trio of instrumentals — two wild ones (“Road Rage” and “Fleshbot”) and the mellowest track on the album (“Ballad for Ding Bang”) — showcases Deninzon’s prowess while not slighting his talent-rich band: guitarist Aurelien Budynek, bassist Jamie Bishop and drummer Lucianna Padmore.

Every Deninzon and Stratospheerius album is worthy of your attention, but if you’re new to these guys, start here. And if you’re not — well, you know you want this…

Track Listing: 
1) Release 
2) The Missing Link 
3) Tech Support 
4) Climbing 
5) Fleshbot 
6) The House Always Wins 
7) Gods 
8) Ballad for Ding Bang 
9) Road Rage 
10) One Foot in the Next World 
11) The Prism

Added: August 29th 2012
Reviewer: Michael PopkeScore:Related Link: Official Stratospheerius WebsiteHits: 159
Language: english

Review of “Plugging In” by Joe Deninzon. STRINGS Magazine September, 2012




By Mimi Rabson


It’s hard to understand why the violin and the guitar went such disparate ways in the 20th century. After all, they are both stringed instruments with long histories in Western classical music and with repertoires filled with works by great composers. Both instruments also play pivotal roles in non-concert music.

Yet today when a child says, “I want to play the violin,” that child gets an entirely different education than the one who finishes that sentence with “guitar.” Joe Deninzon brings the process of bringing the violin into the 21st century by making the music and technology of the contemporary electric guitarist available to the curious and willing violinist.

Plugging In begins with an ample, informative discussion of the hardware involved-from instruments to amps and pedals-including step-by-step instructions about how to make the equipment sound good and work well. Also included are fantastic etudes for developing new bowing techniques, as well as harmonic and rhythmic concepts for the rock-oriented player.

The book translates the language that electric guitar players have been using for years into “violin-ese.” Deninzon’s magnificent playing and technical expertise make it easy to understand. The book also lends legitimacy to the pursuit of rock and funk violin, something that I feel is long overdue.

Deninzon makes a point of encouraging violinists to carve out their own roles in the music and bands they love. While violin is not yet an essential instrument in every rock band, with this book around, it won’t be long before that changes.


PLUGGING IN book review from Jazz Weekly

Joe Deninzon: Plugged In-A Guide to Gear and New Techniques for the 21st Century Violinist

July 27, 2012

By George W. Harris

While guitarists have been comfortably plugged in to their amplifiers since the Swing Era, violinists have generally been less ambitious to explore the sonic potential of “going electric.” This booklet and cd/dvd goes a long way to introduce the curious violinist to the new world of sounds and styles.

Joe Deninzon goes through everything you’ll want to know about this niche, from the history to finding an amp as well as scales, chords, patterns and jams. The book has a plethora of licks and etudes to help you get the feel of the style, while the cd and dvd are user friendly workshops that will get you through a lot of initial questions, saving tons of time, energy and discouragement.

The Next World review from


Stratospheerius – The Next World 
I’m just gonna say it, no one stop me, please: This album drove me absolutely nuts. So, why the good rating? It’s well done, I simply can’t argue with that. Stratospheerius is a unique band, melding blugrass, rock, prog, jazz, and funk. It’s really hard to describe. It’s got great violin happening all over the place, it breaks down to these blugrass and country moments all of a sudden, then this weird electronic bit, and all of a sudden there’s a funk guitar going, followed by classic rock guitars and vocals. Then, of course, there’s the prog elements on a variety of tracks, which prove to be quite well done (check out “Fleshbot” and “Road Rage” great instrumental driven violin rock madness). I’m not gonna lie, this violinist is really good, and really fun. If I were supersticious, I’d have to say that the devil came down and made a deal with Mr. Denizon for sure. Stratospheerius is all over the map on The Next World. Great band, not my style, but still a great band. This one’s worth checking out to see whether you love it or hate it.

-Matt Di Giordano

The Next World Review from


The Next World

Review by G. W. Hill

You just can’t go wrong with this outfit. Nor can

you assume what you are going to hear when they

release a new disc. While the fusion elements of

previous releases are still present, this one has

more pure rock in it, too. Frankly, this might be the

best Stratospheerius disc yet. At least until the

next world, err time.

Track by Track Review


Starting in a fusion way, this turns out to a killer, accessible prog rock tune.

It’s very much in an AOR motif and the peace lyrics are cool. There’s a great

non-lyrical vocal section as a bridge. There’s also a bouncy sort of section

that reminds me a bit of the reggae influenced period of Rush. There’s also

an intriguing space rock meets jam band instrumental section later. As one

might guess, there is also some tasty violin playing on this.

The Missing Link

The early sections of this have an almost modern alternative rock texture.

From there, though, it turns more unusual. Perhaps the most obvious

reference is King’s X, but it has more of a fusion element than that conveys.

As this cut continues the vocal arrangement becomes very noteworthy. In

addition, some of the changes start to feel more like some classic progressive

rock from the 1970s. This is another awesome tune on a disc that’s turning

out to be exceptional by this point.

Tech Support

Frantic and funky, this is a short song, but what a monster it is. It’s definitely

more like jazz, but there’s even a vibe to it that feels almost like Red Hot

Chili Peppers. While this might not be the prog powerhouse that the first two

cuts represented, this thing is full of energy and the instrumental section is a

real killer.


While this cut is good, and presents a definite change of pace, it’s not nearly

as strong as the rest of the disc. The bulk of this fits somewhere between an

alternative rock sound and country music. Still, there is a smoking hot

instrumental section that’s more prog meets fusion and manages to save this

from pure mediocrity. Honestly, the problem isn’t weakness with this

particular number. It’s just that compared to the rest it’s a bit lackluster.


After a gong blast, the violin heralds a killer fusion jam. This is angular in its

progression and mid-tempo in its pace. Its shifts this way and that and really

rocks like crazy. At times I’m reminded of some of the most adventurous

music from Yes. They take it out into some world music after a while. Then it

becomes more pure jazz for a short time. They drop it to a weird percussive

bit and then move back into the song proper. It gebit and then move back into the song proper. It gets pretty crazed after a time. Other than some found sound type voices, thie tune is an instrumental.

This one is certainly proof that the disc is back on track after the last one.

The House Always Wins

While this cut is a big change, it’s far from a let down. It’s sort of like a jazz

ballad with a lot of New Orleans and some blues in the mix. It’s a weird little

tune and features some small oddities in the arrangement. It’s also very

tasty and has loads of charm and style. It’s probably not really a progressive

rock number, but there’s enough fusion here to make it a close call.


What a powerhouse this one is. It comes in hard rocking with a modern

progressive rock sound. As it continues it just gets more potent. The vocals

are among the best on the disc and the music also stands out. At times this

leans towards metal. At other points it’s closer to fusion. There’s almost a

Jimi Hendrix goes fusion feeling to it at times. The guitar solo is especially

powerful as it soars over the top of the mix. There’s a full on progressive rock

interlude that serves to link the instrumental movement back to the song

proper. This is arguably the standout number on show here.

Ballad for Ding Bang

This instrumental starts out much more like pure jazz. It gets more rock

infused as it continues and it has some particularly inspiring musical interplay

and soloing. It suffers from having to follow the masterpiece that “Gods” was,

but it manages to pull it off very well by not occupying similar space.

Road Rage

The frantic jam that opens this allows Joe Deninzon lots of room to simply

scream out his violin soloing. This is a high energy cut that’s part Charlie

Daniels and part Kansas, but all Stratospheerius. The guitar also gets a

chance to shine and this thing is a crunchy crazed progressive rock meets

fusion instrumental that’s another highlight of the set.

One Foot in the Next World

While the first parts of this have that alternative rock turned modern

progressive rock sound and seem a bit lackluster compared to some of the

rest of the music here, this includes plenty of powerhouse jamming later. It’s

another standout tune. It’s got strong vocals, killer instrumentation and a

powerful arrangement.

The Prism

They saved a winner to close the set. The progression of this cut includes

some Eastern tones, and I’m a sucker for that sound. It’s also powerful and

features some killer instrumental work alongside the vocals. This is another

that has a bit of a Kansas element to it, but it also seems to lean on some

modern epic metal in some ways. Still, this is Stratospheerius, so it’s got

plenty of prog and fusion built into it. This is definitely a great way to end the

disc in style and power. There’s even a little symphonic turn that actually

closes the track.

The Next World review by John Wilcox for

John Wilcox Progsheet review The Next World 5/11/12


Stratospheerius – The Next World… (Fiddlefunk Music)


Take violinist / vocalist Joe Deninzon, add guitarist Aurelien Budynek, bassist Jamie Bishop, and drummer Lucianna Padmore and you get the genre-busting quartet Stratospheerius. One moment you get a Police vibe; another song might fit in with that gonzo Tubes feel; the next some Jeff Beck-ish; yet another would be at home in the Zappa family. Sometimes all at once. The one common factor is that every number is full of invention and feels alive.


The biggest jump since the last Stratospheerius album is the depth and maturity Deninzon’s voice has gained. His vocal on The House Always Wins is playful and a bit of a tease. On Gods it’s got an urgent edge. Earthy and open on Climbing. As for the playing, every member plays with passion and invention. Budynek is tight and bright in rhythm mode and soars when the song calls for it. Bishop, who prog fans might recall from stints with the Syn and with Francis Dunnery, is a flat out low end monster and perfectly matched with the fiery Padmore. She is that drummer every musician wants in their ensemble: a player that can blow your mind one moment, then tenderly hold your hand the next. As for Deninzon – the sounds he gets out of that violin are inhuman. His speed, precision, color, and character are just off the charts!


Not a bum song to be found here. Today Ballad For Ding Bang, the Morse-era Spock’s Beard-ish One Foot In The Next World, The House Always Wins, and Tech Support win the highlight honors. If you dig funk/prog/rock/jazz/jam/fusion/pretty-much-everything-but-opera – it’s all right here. The Next World… is a disc you’ll never get tired of spinning! Much love to dear departed Stratospheerian Bob Bowen who also provided the cover art.

The Next World review by Angel Romero for

The Next World review by Angel Romero for


A Superbly Gifted Violinist



Stratospheerius – The Next World


The Next World (Digital Nations, 2012)

A leading candidate for best rock album of 2012 is the deliciously addictive album The Next World by Stratospheerius. The wide-ranging New York-based band is the brainchild of electric violin sensation Joe Deninzon.

Stratospheerius displays violin virtuoso, mandolinist and vocalist Joe Deninzon at his prime, accompanied by three outstanding musicians: Lucianna Padmore on drums, Aurelien Budynek on guitar and vocals, and Jamie Bishop on bass and vocals.

The Next World mixes state of the art progressive rock, jazz fusion, Dave Matthews Band-style jam band rock, contemporary bluegrass, cutting edge electronica, blues, folk-rock vocals harmonies, and even Balkan Gypsy music. Joe Deninzon’s dazzling violin solos, creative loops and effects are clearly spectacular and demonstrate that is one of the most talented instrumentalists in the current rock scene.

The Next World is dedicated to the late Bob Bowen, the bassist in both Stratospheerius and the Joe Deninzon Trio. Bob was killed in a bicycle accident in Manhattan (New York) in 2010. Bob’s bass appears on the track “The House Always Wins.” Bob Bowen also created the cover artwork for the album.

The Next World combines solid songwriting and tradition with extraordinary electric violin work and the sounds of the future.

The Next World Review: LET IT ROCK – DME Music Site

Have you ever been to electric violin land? A master of four-string wonder crystallizes his vision

Over the five years that have passed since Joe Deninzon carved a personal niche in the rock domain with his band’s debut, “Headspace”, he made forays into jazz territory with a trio of his own on the instrumental covers collection which is “Exuberance”, but it’s in STRATOSPHEERIUS that the violinist holds the richest palette to take colors from. And this time he goes for a big picture, even though tango “The House Always Wins” and punky yelp of “Tech Support” might throw things to the humorous side to dissolve the wah-wah-adorned cerebral swipe of “The Missing Link” or the heavy “Gods” idiosyncrasy and, thus, blur the intent.

So while “Release” opens the lookout in quite pathetic manner, planting a folk dance onto proggy stem – a trick that works miracles in the vocal-free rave “Fleshbot” – when the full view comes into focus with the guitar-and-fiddle rage of “Climbing” a fabulous vibe goes down the listener’s spine. Ignited by Aurelien Budynek’s axe, “Road Rage”, the most classically-burdened piece on offer and at the same time the sharpest, marries its riff-fest to Balkan swirl, whereas “One Foot In The Next World” thrives on its fusion sensibilities, but “The Prism” is where the Eastern-hued vibe turns triumphal and the purest release reveals itself. After that, another five years would make a cruel wait.