Pianist's latest release has a mythical qualityPublished: 11/8/12 @ 12:00
Deno Frangopoulos’ soothing musical spirit is again on display in “Icarus Bleeds.”
The album is the follow-up to his 2011 debut, “Pour Mon Pere,” which earned a Grammy nomination in the Pop Instrumental category.
Like the first album, “Icarus Bleeds” possesses a calm and transfixing quality that compels the listener to take pause. Some people are even using it while practicing yoga.
While Frangopoulos, of Campbell, used an electric piano on his debut, the new album has more of a classical piano sound. Both albums are unaccompanied by backing musicians.
Frangopoulos is a Campbell Memorial High grad who had a successful career as a supermodel.
He worked with Versace and Dolce Gabana in print and televison ads and was in commercials for Bacardi rum, Coca- Cola, Miller Lite and others in the late 1980s and ’90s.
Frangopoulos also was an actor who had roles in the 1997 miniseries “The Last Don” and the series “Sins of the City” (1998) and “Miami Sands” (2001).
He moved back to Campbell from California about six years ago when his father was stricken with cancer. That’s when he also began getting serious about his music. His father’s cancer is in remission, and Frangopoulos is already working on a third album.
Frangopoulos recently returned from a three-month stay in Greece, where his family owns property on the remote island of Kalymnos. “Icarus Bleeds,” he said, was the soundtrack to his summer on the paradisical island.
Internet marketing has delivered a few hundred new fans from around the world to Frangopoulos.
“I’ve struck a chord somehow with a few fans in Korea, Chile, Israel and Argentina, some in Japan and the U.K., he said. He’s also selling music in the United States, although it’s not enough to make his music career self-sustaining.
Songs from the new CD that are trending include “Never the Groom,” “Love Haunts” and “Pearls to the Swine,” which has somehow — illegally — made it onto a compilation CD that is being sold in Asian markets.
“Icarus Bleeds” and “Pour Mon Pere” are both available at most online music retailers, including iTunes, Amazon, Rhapsody, ReverbNation, Spotify and CDBaby.
MATT TOKA WILL TOUR WITH ALL-AMERICAN REJECTS
Matt Toka, the pop-punk artist from Youngstown who first rose to fame in the late ’90s with Cherry Monroe, will open for the All-American Rejects on a string of U.S. tour dates.
The concerts will be in California, Arizona, Texas, Arkansas, Louisiana and Alabama. Toka also will perform several shows on the West Coast with Falling in Reverse, with whom he toured in October, after the Rejects tour.
Toka generated buzz and a national following after performing all summer on the Vans Warped Tour. His self- titled EP is available via Warner Bros. Records. Go to mattoka.com to learn more.
IAN ANDERSON CONCERT WAS ONE OF the YEAR’S BEST
Akron’s Civic Theater was a fine setting for Ian Anderson’s concert Sunday night.
The auditorium is ostentatiously ornate, as baroque as a European cathedral. As such, it was a visual counterpart to “Thick As A Brick,” the 1970s Jethro Tull album that was played in its entirety at the show.
Anderson is the visionary songwriter-singer-flautist for Tull, and “TAAB” is his concept-album masterpiece, an epic rock symphony filled with introspective melodies, sudden time changes, sweeping overtures and literate lyrics.
“TAAB” comprised the first half of the concert, while “TAAB 2” — the worthy 2012 sequel that musically parallels the original while updating the story of its protagonist — was played in its entirety in the second half.
Anderson is rock’s pied piper, and he was in fine form, striking his trademark “flamingo” pose — left leg cocked and resting on right knee — during flute solos. The band wasn’t the familiar Tull lineup (no Martin Barre on guitar), but was every bit as good.
Anderson enlisted Ryan O’Donnell, a young actor-singer, to share lead vocals, and his stage moves added a Shakespearean flair. Theatricality, in fact, was a hallmark of the concert — punctuated by wacky British caricatures, delivered via video from Anderson’s staid and silly alter-ego.
The capacity crowd’s standing ovation was rewarded with “Locomotive Breath,” an encore to one of the best concerts of the year.