Anthropocene<\/a><\/div><\/p>\n\n\n\nApt to infuse some lighthearted humor, \u201cFactory Song (Hey-Oh, Goodbye)\u201d recalls a time DeRosa worked in a clam canning factory. DeRosa and Simmons had just moved from Berklee College of Music to the Philly area, and they needed to make ends meet. \u201cThe cans going down the conveyor belt were [hitting] in this weird 6\/8 kind of rhythm. When you work 12 hour shifts, it gets stuck in your head even when you go home,\u201d he describes.<\/p>\n\n\n\n
So, he wrote a song about it. His factory job also sparked a rush of millennial angst, seeping onto the entire record. \u201cAs millennials, we do everything we\u2019re supposed to do and still society isn\u2019t set up for us to be successful,” he points out.<\/p>\n\n\n\n
That emotional tug-of-war peeks out from behind lush, elegant instrumentation. Even with \u201cThe Man in the Eye of the Storm,\u201d perhaps DeRosa\u2019s most moving vocal performance, he utilizes ornamental beauty to sculpt a tragic tale about his stepfather, whose toxicity and emotional abuse spread trauma like a plague into every facet of DeRosa\u2019s existence. \u201cNo matter how far he\u2019d go\/The storm would still follow\/Ghostly in nature, haunting its maker,\u201d he cries, carving out what blossoms into a chilling folktale.<\/p>\n\n\n\n
\u201cI\u2019ve seen a lot of people, especially those who suffer with depression and maybe aren’t aware they even have depression, have this black hole around them. It sucks energy,\u201d he says. \u201cMy father wasn\u2019t ever able to see that.\u201d<\/p>\n\n\n\n
Anthropocene<\/em> became a conduit through which DeRosa could confront trauma from childhood and move onward to his destiny. The titular cut, drawing upon a term, which, as defined, outlines the geological age in which humans now exist, celebrates the discovery of his Indigenous lineage (Warao Venezuelan) and his \u201cunderstanding in having a positive experience to the environment,\u201d he reflects. \u201cThat culture, they know how to influence nature to benefit it, and we tend to, in an industrialized world, do the opposite. This song was a way to look at both sides.\u201d<\/p>\n\n\n\n\u201cThis current age is unstable, to say the least. We all joke about how the world is gonna end, but it feels like it really is,\u201d he adds.<\/p>\n\n\n\n
He further reclaims his heritage with the gooey, electronic \u201cFake News,\u201d also an obvious dig at the current U.S. political climate. It\u2019s a languid, spacey performance that cuts deep with an array of instruments, including xylophone, guitar, and bansuri. DeRosa packs in such vibrancy \u201cwhile talking shit about the administration,\u201d he notes with a chuckle.<\/p>\n\n\n\n
The record \u4e00 co-produced with Simmons, whose sultry production style and foundational instrumentation accentuates DeRosa\u2019s irresistible presence \u4e00 threads together their evolutionary journey and inclination for rich tonal colors. \u201cI tend to love different modes, which are scales with different personalities. I draw a lot from Caribbean music for grooves and Indian music for my melodies,\u201d says DeRosa, who dove into various musical ensembles (Indian, Middle Eastern, and Caribbean) during his Berklee days. In working so intimately with Simmons, a collaboration that could get very heated at times, they bounced off each other\u2019s strengths and diverse talents.<\/p>\n\n\n\n
\u201cI\u2019ve learned so much by just being next to Robbie. We compliment each other in that way,” DeRosa gushes. “It definitely makes the stakes higher.\u201d<\/p>\n\n\n\n
By the album\u2019s alarming end, \u201cOpen Your Mind\/Surrender\/Breathe,\u201d DeRosa comes as close as he\u2019s ever been to totally mended with what is truly a cathartic release. He learns to shed his old self, as well, and embrace who he was always meant to become. \u201cI think often we get swept up in our own ideas of who we are, and we hold ourselves back by not being willing to change. I saw myself over the five years trying to get this album together. I was holding onto old ideas of myself,” he explains.<\/p>\n\n\n\n
In this very moment, DeRosa stands in the spotlight next to Simmons. Together, they are a force to be reckoned with. \u201cEven life and death is an illusion, and it\u2019s hard to own that all the time,” DeRosa says. “I remind myself to find the beauty in irreverence and make fun of things. Live life without fear. Live the best life you can. You only get one. Humor makes life enjoyable. If I can find happiness in all the dark moments of my life, then moving forward shouldn\u2019t be that difficult.\u201d<\/p>\n\n\n\n
Follow ThebandIvory on Facebook<\/a> and Instagram<\/a> for ongoing updates.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"Frankie DeRosa needed to heal, but he didn\u2019t realize it until he saw children of Mexican immigrants locked in cages. \u201cSeeing that came with a sense of responsibility to have my voice be heard,\u201d he says. He made a vow to finally finish Anthropocene, his debut full-length as ThebandIvory, alongside collaborator and real life partner […]<\/p>\n","protected":false},"author":111,"featured_media":36778,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[573,305,567],"tags":[11136,2655,11137,11135],"acf":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/www.audiofemme.com\/wp-content\/uploads\/2020\/10\/ThebandIvory-Photo-2-by-Bob-Sweeney-2020-scaled-e1602697888574.jpg","_links":{"self":[{"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/posts\/36755"}],"collection":[{"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/users\/111"}],"replies":[{"embeddable":true,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/comments?post=36755"}],"version-history":[{"count":5,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/posts\/36755\/revisions"}],"predecessor-version":[{"id":36783,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/posts\/36755\/revisions\/36783"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/media\/36778"}],"wp:attachment":[{"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/media?parent=36755"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/categories?post=36755"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.audiofemme.com\/wp-json\/wp\/v2\/tags?post=36755"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}