Frank Palangi has had his hopes pointed towards the sky for some time now. With a genre built from traditional grounds up, that would seem like a hell of a mindset to maintain in a mainstream dominated by pop rock and hip hop music. However hopeful he may be, there is no shortage of certainty that his sound of undivided passion has a special place in an ever-changing music industry.
The self-acclaimed, positive-driving rock artist recently released his new single “Hope,” recorded at Rivergate Studios, owned by 3 Doors Down guitarist Chris Henderson, and mastered by Rob Coates. Frank produced the track himself, exemplifying his versatile musicianship that has become a vital project in how modern artists grow in today’s music world. He used a particular brand of lyricism to illustrate a deeper meaning to hope than you’d find in a standard American dictionary. According to the provided information on CDBaby, hope is the “feeling that what is wanted can be had or that events will turn out for the best” or the act of “look[ing] forward to something with desire and reasonable confidence” or “feel[ing] that something desired may happen.” In other words, hope could imply optimism or confidence; either way, Frank backs up his self-proclamation as an individualist with a lyrical approach with the power to carry as much significance of its melodic counterpart.
Acoustic-based instrumentation has always been a tried-and-true crowd pleaser in the singer-songwriter field. That being said, an introduction consisting of a bright acoustic guitar over a hallow piano carried by a wind effect and an undertone of strings is quite pleasant to the ears. The vocals begin hallow as well, which compliments the melody until the strings jump a few octaves and a dark bass drum is added along with an electric guitar, creating a quick build-up to the returning vocal track, which is now much clearer and more defined.
From that point on, Frank unleashes the power that defines his sound. The chorus explodes, each instrument carrying as much momentum as the next. While Frank is known for his bass voice, he does showcase his solid baritone range in the chorus to match the intensity of not only his lyrical intent, but that of the melody as well. After a structural repeat in verse-chorus, the bridge begins in one of two parts. The first part of it is a continuation of the chorus instrumental with a series of vocal ornaments. The second part begins with a quick electric guitar solo, followed by a mini build-up and punctuated with an abrupt (but fitting) half-beat pause before bringing back the chorus for the final time. After only singing the chorus once, Frank decides to close the song in traditional fashion with the use of a coda – or a passage used in songwriting to designate the end of the song. The occurrence is clear when the melody changes to a sequence of ascending chords bound by a pair of transitional electric guitar solos and grungy vocals. The song is acoustically carried out in an identical way to how it was introduced.
Frank Palangi has been spending the summer playing out and spreading his music around the Capital Region – from his hometown in Queensbury NY to Adirondack hotspot Lake George. For a list of upcoming shows, visit Frank’s Facebook page under the Shows tab or visit his website!
Check out the music video for “Driving These Lines”:
For more information:
Official website: http://www.frankpalangi.com/<