Melodic Revolution Records is thrilled to announce that US symphonic act Phoen1x will release Immaterial Witness on October 23rd, in all popular Digital formats and a very limited-run Compact Disc.
Immaterial Witness is a collection of ten songs written over the last couple of decades that have been recorded by an all-star outfit featuring members of Vertical Alignment, Proto-Kaw, Evership, Time Horizon, Stratospheerius, among many other talented musicians.
Tracklisting 01 Immaterial Witness 02 Dreamer Awaken 03 Sunrise 04 Home of the Brave 05 Small Charade 06 Legend of Brick House 07 The Opera 08 Song of Life (Phyl’s Song) 09 Tomorrows 10 Angels
Phoen1x is. Jake Livgren – Lead and Back Vocals, Saxophone Seth Trotman – Bass Michael Adams – Percussion and Drums Phoen1x – Vocals, Keyboards, Guitars, Cherokee Flute
Additional Musicians Bill Rebsamen – Keyboards Deron Freeman – Trumpet Kev Rowland – Narration Jaymi Millard – Bass Mike FitzPatrick – Lead Vocals Mark Thompson – Lead Guitar Erikson Silva – Lead Guitar Joe Deninzon – Vocals, Electric Violin (Viper) Lyda Livgren – Back Vocals Chuck Tidwell – Lead Guitar Greg Wollan – 12 String Guitar Ralph Otteson – Keyboards Mike Florio – Lead Vocals Bill Coan – Vocals, Bass
Melodic Revolution Records Is thrilled to announce the brand-new Joe Deninzon & Stratospheerius official music video “Storm Surge” featuring the vocal talents of Michael Sadler (SAGA) along with performances by Fernando Perdomo (Solo, Dave Kerzner), Ruti Celli (Take 3), Yulia Ziskel (New York Philharmonic Orchestra), last but not least… multi-award-winning Rachel Flowers.
The video will premiere Friday, October2nd, 2020 on YouTube the video will also be debut on Vimeo and will be a featured video on Power of Prog. The Single will be exclusively available Friday, October2nd, 2020 on Bandcampand on Patreononly, following the worldwide digital distribution on October 23rd, 2020
….”as stated by Joe Deninzon” A little over a year ago, my son Max was playing a short piano piece by 19th-century composer Friedrich Burgmüller, called “The Storm.” The piece was stuck in my head because I would hear him practicing it every day. I started to imagine it as a rock power ballad and began to sketch out a slowed-down version with the basic chord changes and structure.
I was imagining a cello replacing the ostinato part played by the left hand on the piano, so I asked my friend Ruti Celli, who I met on Cruise to the Edge last year when we played with Dave Kerzner and In Continuum, to contribute her beautiful part.
Our drummer, Jason Gianni, had a sketch he never finished that he thought would be a perfect fit in the middle of the song. I layered a huge string orchestra on top of that section and recruited the great guitarist/producer Fernando Perdomo to lay down a soaring guitar solo.
Next, I was hearing a flute during the breakdown section that followed. We have never had a flute, or any woodwinds for that matter, on one of our recordings! I asked the genius multi-instrumentalist Rachel Flowers to play the flute and lay down a piano track for the song. Rachel has been blind since age 3 and plays piano, flute, bass, guitar, drums, stick, sings, and records and mixes her own albums! I’ve met and worked with a lot of gifted people in my career, but don’t think I have ever met a person with this level of talent! Check out the documentary about her, Hearing is Believing, on Amazon Prime.
Finally, I’ve been into the idea of using outside singers in Stratospheerius. Up until his time, I have always been the lead vocalist. The new album we are slowly putting together will feature many special guests. We’ve been longtime fans of the 80’s Canadian band SAGA best known for hits like “Wind Him Up” and “On The Loose.” When we played at the ProgStock Festival afterparty back in 2018, Saga’s lead singer Michael Sadlercaught our set after his performance at the festival, and was raving about the band! We were incredibly humbled to receive such words of encouragement from such an iconic artist.
We felt Michael’s voice would be perfect for this song! He ended up contributing a jaw-dropping vocal performance, enhancing the melody, and adding Queenesque harmonies. As a side note, he and his wife Gwen turned out to be some of the nicest and most gracious people I have ever worked with.
“Storm Surge” is about the anxiety we all feel in these uncertain times. With the global pandemic, the fight against racism and the continuing struggle for social justice, climate change, political upheaval, economic turmoil, and a future of uncertainty, there is a storm that’s raging inside of us right now.
Stratospheerius is: Joe Deninzon – lead vocals/electric violin Jason Gianni- drums Michelangelo Quirinale – guitar Paul Ranieri – bass
Special Performances on Storm Surge Video and Single Michael Sadler – Vocals Rachel Flowers – Keys and Flute Yulia Ziskel – Violin RutiCelli – Cello Fernando Perdomo – Guitar
Tracked by Rave Tesar (Renaissance) Mixed and mastered by Rich Mouser (Spocks Beard, Dream Theater)
Just saw Bohemian Rhapsody, and even though they screwed up a lot of things chronologically and factually, it still captured the essence of Freddie Mercury and brought back a cool memory from when I was 18. Queen was an obsession for me in high school. Their music was a constant soundtrack of my life and I had all their albums. My band at the time wrote many songs inspired by Queen and even learned all the harmonies to “Love of my Life”, including Brian May’s guitar solo, which I transcribed and taught myself to play.
In February of 1993, about a year and a half after Freddie’s death, Brian May put out a great solo album called “Back to the Light.” I heard through the grapevine that he was giving a secret, free concert at the old Agora in Cleveland. I went with my bandmates, Matthew James Murphy and Matthew Parrotta. The show was killer and afterward, we wanted to try to get backstage. It was frigid cold and snowing outside and there was a huge line of people waiting to meet Brian. We were in the back of the line freezing our asses off, so we just started singing as loud as we could, hoping the guy guarding the door would hear us.
All of a sudden, the door opens, someone from the crew along with the drummer Cozy Powell walks up to us and leads us past the crowd straight to the backstage area. There, standing in front of us, was Brain May! We sang him one of our songs and gave him our demo tape. He was very gracious, complimentary, and we chatted for a while. He signed our CD’s and we thanked him.
For what it’s worth, the memory of that night is forever etched in my mind.
Thank you, Brian, Freddie, and Queen for the incredible music and inspiration!
– Joe Deninzon
Melodic Revolution Records is pleased to announce that Joe Deninzon & Stratospheerius will release their LP of their highly acclaimed fifth album “Guilty of Innocence” a year after the official CD release via Melodic Revolution Records. The 10-track LP will be available worldwide in both Physical and Digital formats. As with the previous CD & Digital version “Guilty of Innocence” features special appearances by Alex Skolnick(Testament), Rave Tesar(Renaissance) and Randy McStine (Lo-Fi Resistance, The Fringe).
“Guilty of Innocence” highlights include the hit singles “Behind the Curtain” a reimagined cover of Muse’s “Hysteria,” and the 12-minute prog mini-epic titled “Soul Food” which features many of the guests mentioned above, plus “Dream Diary Cadenza,” a solo electric violin extravaganza lifted from Joe’s electric violin concerto.
Stratospheerius is led by founding member, electric violinist & vocalist Joe Deninzonwho has been called the “Jimi Hendrix of the electric violin.” “Guilty of Innocence” features French guitarist Aurelien Budynek(Cindy Blackman, Vernon Reid), bassist Jamie Bishop(The Syn, Francis Dunnery), and drummer Lucianna Padmore, praised by Modern Drummer Magazine for her “Deep grooves and serious fusion chops.”
Joe talks about the Vinyl/LP version of “Guilty of Innocence” Guilty of Innocence was a watershed moment for Stratospheeriusthis past year. After years of touring and putting out CD’s, I felt that this record was embraced by the progressive rock community on a bigger scale than any of our previous releases. In our touring and festival appearances alongside other artists in the prog world, I noticed more and more artists are manufacturing vinyl, and in many cases, it is outselling their CD’s at live shows. I believe the resurgent interest in vinyl has to do with the fact that in the digital age, we consume music on the go in a condensed mp3/streaming format. There is a hunger to hold something tangible in our hands, admire the artwork on a record, and have the home listening experience be something special. We are excited to join the growing community of artists putting out vinyl and hope our fans will buy the record and rediscover it (or DISCOVERit)!
LP Details
Artist: Joe Deninzon & Stratospheerius
Album Title: “Guilty of Innocence”
Status: Limited Edition of 250 copies
Format: 33 rpm black vinyl – LP
Extras: Custom LP sleeve, all LPs come with a FREE download card
Release Date: Monday, October 8th, 2018
Pre-Orders begin Friday, September 14, 2018
Pre-Orders Price $25
Catalog No. MRRLP-12-006
Label: Melodic Revolution Records
Track Listing
Side One
1. Behind The Curtain 03:43
2. Take Your Medicine 04:10
3. Guilty Of Innocence 03:16
4. Face 05:46
5. Hysteria 04:13
6. Affluenza 03:08
Side Two
1. Parallel Reality 03:10
2. Game Of Chicken 05:03
3. Dream Diary Cadenza 04:12
4.Soul Food 12:46
“Joe Deninzon has made a career…wielding his violin like a guitar. In that way, he has pioneered a new standard for rock violin, much the same way Ian Anderson did for flute.” – PROGRESSION MAGAZINE
This is infectious, with no cure in sight. The arrangements are tight, everyone bounces off each other, and is one of the most poptastic progressive album one is likely to come across 5/5 Kev Rowland // Prog Archives
One of the perks of being a reviewer is that on some days you get the pleasure of getting introduced to some music or bands you never heard of but are actually quite good. Or in the case of Joe Deninzon And Stratospheerius, really good! 9/10 Arno Agterberg // DPRP
Joe Deninzon’s music is always both entertaining and creative. I have to say that this might very well be the best Stratospheerius album. Gary Hill // Music Street Journal
The album comes with plenty of Progressive Rock tracks, it’s the other songs containing other styles that help to make the release even more entertaining. If you happen to be a fan of Progressive Rock, the new album of Guilty of Innocence album from Joe Deninzon and the band Stratospheerius is one album you need to check out. Matheson Kamin // The Rock and Roll Report
Upcoming Shows
Sonic Voyage Festival and “Vinyl Release Party” with special guests
Oct 4th, 2018 doors at 7 pm
Shrine World Music Venue
2274 Adam Clayton Powell Blvd. NY, NY https://www.shrinenyc.com
ProgStock Festival
October 6th2018 at Midnight
Union County Performing Arts Center
1601 Irving Street, Rahway, New Jersey 07065 https://www.progstock.com/
If you’ve attempted to keep up with the news cycle in recent years, then Conundrum, the title of the Alex Skolnick Trio’s new album from Palmetto Records/MRI, should be a no-brainer. “It represents the sense of confusion many of us are feeling in the midst of the strangest sociopolitical upheavals of our lifetimes,” says Skolnick, the guitarist and composer who helped define thrash metal as a founding member of Testament, before establishing himself on the international jazz scene. “This album captures many styles in an effort to channel that angst into art and inspire others to do likewise.”
Photo by Nelson Oh, Electric Eyes Photography (electriceyesphotography.blogspot.com)
Ironically, given its globally pertinent message, Conundrum is in many ways Skolnick’s most intimate record yet. It is the trio’s first new studio album since 2011’s Veritas, and it features original music almost exclusively, with six compositions by Skolnick, one apiece by bassist Nathan Peck and drummer Matt Zebroski, and a gorgeous interpretation of maverick composer Erik Satie’s “Gymnopédie No. 1.”
Far removed from the musical tunnel vision of “guitar” or “shred” albums, Conundrumreflects Skolnick’s wide-ranging knowledge as a player and, even more important, as a listener. “What would I want to hear, regardless of the instrument and regardless of technique?” he asks. “That’s the type of music I try to create as an improviser and composer.”
The multi-layer, multi-section songs that resulted are, in a word, sweeping— and include plenty for guitar heads to dig into after all. Skolnick’s “Unbound,” part of which originated on piano, kicks off Conundrum with springy slapped harmonics. Beautiful chordal work follows, as well as soloing that lays out the guitarist’s m.o. as a lead player: to tell a story by varying his attack, tone, intensity and harmonic approach with masterful control. “Django Tango,” which Skolnick originally wrote for his acclaimed world-music project Planetary Coalition, is precisely what it proclaims to be—a sensual commingling of Reinhardt and Piazzolla (plus, Skolnick notes, a touch of downtown attitude via Marc Ribot y Los Cubanos Postizos).
The record’s title track feels open and airy, with inspiration culled from Chick Corea’s Spanish-influenced acoustic tunes. (The melodies are so whimsical that you might not notice the section in 5/4, or that the solos’ order upends jazz tradition.) Peck steps away from his double bass, proving a nimble presence on the electric bass here and on a couple of other tunes. A lover of classical piano, Skolnick plays Satie’s melancholy reverie on steel-string acoustic, atop Peck and Zebroski’s suitably graceful, empathetic backing.
“Culture Shock,” on which Skolnick alternates between hollowbody and Telecaster, is a go-for-broke mashup that flies from Nashville to Dubai and back again; it’s also one of the album’s tunes where the title puts Skolnick’s social and political ideas in plain sight.
Zebroski’s “Dodge the Bamboula” borrows its changes from “Dodge the Dodo,” by the late Swedish pianist-composer Esbjörn Svensson, and applies them to the much-overlooked bamboula rhythm that became a cornerstone of New Orleans’ second-line groove. During a middle section, Skolnick picks up a Gypsy-jazz guitar and we’re transported to a café in ’30s-era Paris. Skolnick’s “Key of Sea,” crafted toward the end of the album’s writing session, takes its cinematic textures from the ambient-music innovator Brian Eno and from ECM Records. (Like so many jazz devotees, Skolnick was ecstatic when ECM began streaming its entire catalog last fall; “Key of Sea” was particularly influenced by one of the label’s curated playlists, “ECM Atmospheres.”) “I think I realized not every tune needs a super-singable melody,” Skolnick comments. The album’s last two tunes find the trio more firmly on jazz terrain: “A Question of Moral Ambiguity” is a hip midtempo swinger that allows Skolnick and company to get their blues fix; and “Protect the Dream” (not to be confused with the Grover Washington Jr. tune of the same name) finds Peck, its composer, digging deep into post-Wayne Shorter harmony. Skolnick spends most of the track on steel-string acoustic, but goes full electric tilt to close, per Peck’s request.
Photo by FotoGOLAB
Born in 1968 and raised in the Bay Area, Alex Skolnick was still a teenager when he made heavy-metal history on Testament’s essential debut, The Legacy. Over his next five years with the band, he cemented his reputation as one of metal’s most gifted lead guitarists, setting chops benchmarks with his work on songs like “Burnt Offerings” and “Practice What You Preach.” He left Testament in 1992 and rejoined in 2005, and following his return the band has released three well-received studio albums and remained a major touring act in heavy music. Most recently Testament has been hitting arenas and amphitheaters as part of Slayer’s blockbuster “Final World Tour.” In 1995, after nearly getting the guitar spot in Ozzy Osbourne’s band — the Prince of Darkness seemed thrilled; his wife/manager Sharon, less so — Skolnick found himself at a crossroads. “The ultimate guitar gig, and then for it not to happen, that was really motivating for me. I really asked myself, ‘What am I going to do?’ Especially in the mid-’90s, when the guitar solo was disappearing from rock. And what do I want to do?”
His interest in jazz had been gathering steam since before he left Testament, so Skolnick headed east toward the end of the decade and enrolled at Manhattan’s venerable New School. It was there that he dug even deeper into recordings by Miles, Trane, Wes, Jim Hall, Scofield, Metheny and more; studied with jazz greats like saxophonist George Garzone and bassist Reggie Workman; and formed his trio, which debuted on record in 2002 with Goodbye to Romance: Standards for a New Generation.
The album, with its wholly convincing jazz makeovers of hard-rock staples by Kiss, Black Sabbath, Aerosmith and more, made waves that roiled through the jazz, rock and guitar communities. “The strong melodies lend themselves to improvisation in a way that their composers never imagined,” Tad Hendrickson wrote in The Village Voice. And in DownBeat, Glenn Astarita offered, “Besides the musicians’ technical prowess, they execute these rock tunes with a slant that might imply an antithesis to what was originally conceived.”
Dates at high-profile venues like the Iridium, in Manhattan, Yoshi’s, in Oakland, and the Blue Note Milano followed, as did three more critically lauded studio albums. Each of those contained at least one rock-to-postbop transformation, which has become something of a calling card for the trio. “Doing the cover tunes was something I stumbled upon,” Skolnick says. “There have been so many albums and interpretations of jazz standards and the Great American Songbook, but I really felt a connection to these songs.”
On Conundrum, however, the opportunity to showcase his inspired original music was too good to pass up. “I’m not saying we’ll never do another [rock cover],” Skolnick says, also pointing out that the vinyl version of Conundrum will contain a rendition of Scorpions’ classic ballad “Still Loving You.” “But I always wanted to expand as a composer. I always wanted my instrumental work to reflect that.”
Expansion, progress, the trust that develops within a band—these are concepts Skolnick wades into when discussing the future of the trio, and of his life in music. “With every record we do, every gig, I feel like there’s a sense of improvement,” he says. “I feel like I’m playing circles around where we were when I started improvising. Scofield, Metheny, Jeff Beck— my improvising idols—they’re always developing.”
And while Testament continues to thrive, it’s the trio and its repertoire that Skolnick can see growing old with. “These days I still love playing screaming, loud guitar and heavy metal, though I don’t think I’m going to be one of these guys who’s past social-security age and in a rock band and touring,” he says. “But I can see myself doing these songs with the trio for many years to come.”
Photo by FotoGOLAB
ALEX SKOLNICK TRIO
is promoting the new album performing live
Sept 9 – Chicago, IL (Reggie’s)
Sept 12 &13- New York, NY (The Iridium)
Sept 15- Los Angeles, CA (The Baked Potato) w/ Stu Hamm
Sept 16 – San Diego, CA (Brick By Brick)
Oct 17 – The Woodlands, TX (Dosey Doe)
Oct 18 – San Antonio, TX (Fitzgerald’s)
Oct 20 – McKinney, TX (The Guitar Sanctuary)
Booking contact
Europe, North America
MAXIMUM Booking / Jeff Aug
info@MAXIMUMbooking.com
Central & South America, Asia, Oceania, Africa
MoonJune Music / Leonardo Pavkovic
noanoamusic@moonjune.com
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