Mutemath – Tickets – College Street Music Hall. – New Haven, CT – September 15th, 2017


Play Dead Live


Colony House, ROMES

Fri, September 15, 2017

Doors: 7:00 pm / Show: 8:00 pm

$20.00 - $22.00

Tickets at the Door

This event is all ages

This event is General Admission Standing Room on the Floor. There will be limited first-come, first-served seating available in the back of the room, but seating is not guaranteed.

Describing their latest effort into one word: "indulgent" says lead singer Paul Meany. "There wasn't a lot of, hey you probably shouldn't do that. It was more like, hey, how can we take this even further?” The result is a MUTEMATH album that is undoubtedly their boldest to-date, and has found a way to articulate the sonic chaos that has come to define this band into a moment of clarity.

This was, in part, due to Meany & drummer Darren King now growing to accept their roles in an independent band. There was no pressure to make a radio hit & no pressure to follow any trends. Instead they took complete and confident control; contemplating the sonic experiment and going in whatever direction their feelings pointed to.

The Lead single “Hit Parade” is a microcosm of that evolution. “The track actually started about 5 years ago” Meany recollects, “as a mix of a few ideas that we just didn't know how to complete until recently. Some song ideas just need time to figure out, and considering this song became about the passage of time, it was probably more necessary than we ever realized to have it develop this way.”

“Hit Parade” is Prog Rock and Pete Rock in a custody battle. “This is the first song we've ever recorded that sounds like what MUTEMATH set out to sound like from the very beginning.”

The album that follows is pure MUTEMATH with no guardrails. “It was important for us to make sure the production of the songs felt just as unhinged and unguarded as the lyrical themes that were narrating them. We played every chord we knew, included every beat, fill and effect we could imagine and let the harmonies and arrangements run free."

And while Meany has left the meaning behind the lyrics purposefully interpretable, he must note that the 10 tracks represent very specific moments in time like a 10 city tour; like a 10 episode season; like a 10 step march into making sense of death and scrounging for the purpose in it all.

Following MUTEMATH’s first two independent releases (2015’s Vitals & 2016’s Changes), the electro-experimental rock band ended 2016 by joining forces with Twenty One Pilots to drop a surprise collaboration TØPxMM (The MUTEMATH Sessions). The band re-arranged and produced alternative versions of 4 songs from TØP’s critically acclaimed 2015 record Blurryface, plus their newest single from the Suicide Squad Soundtrack, “Heathens.” Filmed & recorded live with all 6 members of both bands, the compilation reached #1 on the iTunes Alternative Charts, and has 4.5+ million views on YouTube.

Play Dead, to be released September 8th, 2017, will be MUTEMATH’s 5th Studio LP.
Colony House
Colony House
Picture the quintessential rock band. Maybe they’re standing on a grimy street corner with their arms crossed, looking tough, or maybe they’re goofing around in a sunlit field. They could be wearing motorcycle jackets or cowboy shirts or feather boas. They might sound austere and angry or epic and stadium-ready. But what they have in common, regardless of aesthetic, is that they stand together, shoulder-to-shoulder, brothers and sisters in arms. A real rock band is a gang. A group of people united by a shared commitment to what matters in the world, what matters in life, and an insatiable need to communicate that sensibility to anyone else out there who might relate.

It’s this idea – that your band is your life and vice versa - that bonds the four members of Nashville-based rock band Colony House. Frontman Caleb Chapman, drummer Will Chapman, guitarist Scott Mills, and bassist Parke Cottrell are all married guys in their twenties, so they don’t really fit the rockstar cliché: there’s no champagne cork popping or model chasing with this crew. “We always kind of joke – you think people think we’re a cool band?” says Caleb, chuckling. “The joke is that we know we’re not a ‘cool’ band. We’re regular guys.” But when it comes to that most sacred rock and roll thing, where you move on a mission from town to town and stage to stage getting “gnarly and sweaty” as Caleb puts it, in honor of the thing you love, this band has that part down cold. “We’re not sex drugs and rock and roll,” Caleb says, laughing. “We’re just rock and roll.”

Colony House is gearing up to release their major label debut, Only the Lonely, via Descendant/RCA. The title is a shout-out to the king of elegiac melancholy - “Obviously it’s a direct Roy Orbison reference,” says Caleb. And that might initially seem at odds with Colony House’s sound, a madcap aural rollercoaster borrowing from the anthemic swell of the Killers to the harmonic sass of the Beach Boys to the wit of Vampire Weekend. But beneath the band’s whirlwind of ecstatic guitar playing and intricate melodies you’ll find their real signature: emotion. They write about being desperately lonely. They write about being desperately joyful. But what makes a Colony House song a Colony House song is the sheer feeling it conveys. “We want to connect with people,” explains Caleb, mentioning a favorite quote by van Gogh. There’s a great fire that burns within me but no one stops to warm themselves by it, and passersby only see a wisp of smoke. “I mean, this is Vincent van Gogh we’re talking about!” he continues. “The whole world knows his work! But he felt this loneliness, this sense of, I have so much I have to offer but no one stops to see it.” Colony House’s primary aim is to see that fire. To witness it, as Caleb puts it, “in ourselves, and in the people that come to see us play. That’s what we’re about.”

If this sounds like an unusually high-minded goal for a bunch of twenty-something dudes in a rock and roll band, there’s a reason for that: the guys in Colony House may be young, but they’re serious about their work. And they’ve been at it a while. “So … me and my brother, we know each other for obvious reasons,” says Caleb, as he begins to explain how they all met. Caleb is older, “by sixteen months,” he points out. “I think we have twin tendencies.” The two brothers come from a long line of musicians. “If you’re ever in Paducah, Kentucky and you see ‘Chapman Music’ on the side of the road, that’s my grandpa’s music shop,” Caleb says. Grandpa Chapman’s son, Steven Curtis Chapman, Caleb and Will’s dad, is also a musician. He grew up “playing southern gospel and bluegrass,” in Kentucky, Caleb says, then moved to Nashville and became a songwriter. “He found success in the contemporary Christian music world,” Caleb continues. “This is a proud son thing to say, but he really helped shape what that industry is.” For Will and Caleb, visiting dad at the office meant climbing aboard a tour bus. “That’s what really inspired me and my brother to start playing music,” Caleb recalls. “We were like, we want to do what dad does.”

Knowing what you want to do and actually doing it are two different things. It took the Chapman brothers a while, but by the end of 2009, around the time they met Scott, things really started to gel. “My cousin brought him to our little sister’s birthday party, and he’s like, Scott plays guitar if you ever need a guitar player.” They actually did, and eventually Scott became the first guy in the band not named Chapman. Scott knew of Parke from back home in Knoxville. He had a reputation as killer guitarist and piano player, but they’d never met until Colony House asked Parke to open up, as a solo artist, for one of their Knoxville shows. He did. It went very well. And thus began a multi-year getting-to- know-you period between Colony House and Parke. Three years after that show in Knoxville, Colony House asked Parke to come out and play bass with them for a couple weeks. Parke borrowed a friend’s bass, met the guys in Atlanta, and has played every show since. He was officially added to the line-up in the spring of this year.

It matters, when you tour with the intensity Colony House tours, that all the people you’re sharing a van with have your back. And it matters that all the people waiting for you back at home do too. “For us at least, they go hand in hand,” Caleb says. “If you’re falling apart in one place, it directly impacts the other.” After the band released their 2014 debut (on Descendant) they proceeded to play over 200 shows the following year in support of it. “We wouldn’t want to be anywhere else, this is the dream,” says Caleb. “But it’s also work.” Discovering that they could be exactly where they wanted to be, living the dream out on the road while simultaneously missing home gave the band a new insight into what they see as a universal human struggle. “Everyone has things they miss, everyone has things they’re worried about – even when life is going great, it can still feel hard, and there’s no shame in saying that, there is no shame in saying you’re lonely or sad, that’s part of the beauty of life,” Caleb says.

And that’s really what Only the Lonely seeks to capture in thirteen impassioned tracks: joy reached via a shared appreciation of struggle. The album’s first single, “You & I,” reflects this quest for communal catharsis. It started as Caleb’s attempt to step outside the super-personal stance he usually takes with lyrics and move instead towards something more of the times. “I was challenged by a friend of ours, he was like Dylan or Kristofferson or the Highwaymen, they wrote songs about the times, about the political climate and the social climate, and you just don’t hear as much of that in our music.” He was right, Caleb thought. “So I decided to give it a shot.” “You & I” is not a political song, per se, but it’s as close as the band has come thus far. “I’ve seen the same thing on the news over and over again and it’s heartbreaking, infuriating, depressing,” he says. “Basically, when someone says, ‘I disagree with you,’ what’s normal seems to be to say, ‘okay, build the wall!’ I feel like my role is to keep that wall from being built as long as possible.”

Another of the album’s stand-out tracks is “You Know It,” which Caleb accurately characterizes as “this total surf rock jam.” The song gets at that “push pull,” as he puts it, of wanting to pay enough attention to all the different things you love in your life. It opens with lyrics directed to his wife, reassuring her that he’ll be back from the road before she knows it, and mid-song, flips to say the same thing to the crowd. “I want to be both places,” he says, smiling. Caleb finished writing the song, appropriately enough, in the back of the van, on a sleepless cross-country sprint from Nashville to San Francisco, with a stop over at the Grand Canyon. They had to drive it straight because they’d stayed home as long as possible, but the drive was so inspiring, they played the newborn track at the very first tour stop.

“The greatest performers, whether they’re jumping all over the stage or standing still the entire night, they manage to connect with everyone in the room,” says Caleb. “They are able to make you feel not just like, I was honored to be in the room that night, but like, I was a part of something that night.” That feeling is what drives and inspires Colony House. And it drives and inspires them to very lofty goals. “When we play our music, we dream about hearing it in an arena one day,” Caleb says. “Some people say you shouldn’t dream so big, but why would we put a ceiling on something that we love so much?”
Tucked away in Kensington Market, Downtown Toronto’s most culturally diverse neighborhood, brothers Jacob (vocals) and Nick (drums), and childhood friends Andrew (bass) and James (guitar) have meticulously crafted their debut EP Believe.

Collectively known as ROMES, the four lads converted the basement of their semi-detached red-brick into their full time rehearsal space. For the past year, the band relentlessly spent their waking hours there, exploring their eclectic tastes in music and ultimately writing the tracks for Believe.

Jacob and Nick moved to Ireland in the late ’90’s where the brothers befriended Andrew and James in middle-school. The four mates began jamming together in their young, formative years - spending school afternoons perfecting cover songs and recording home demos. It was from their early, instantaneous chemistry that the band realized a life in music was something they had to do. The natural spark from this abiding bond between these best friends clearly shines through on Believe.

Believe, out this Spring, harnesses their pop sensibilities into an alternative sound that is completely their own. With soulful melodies and bright, funky guitar riffs playing off gritty synths, tracks like “Tryna Be” and “When The Night Comes” are instant, high-energy, anthemic ear candy. These larger-than-life tunes, backboned by thumping, hip-hop rhythms and disco-inspired bass-lines, put a modern twist on the group’s early musical inspirations.

Believe was produced and mixed by Tony Hoffer, who’s worked with some of the greats like Beck, Phoenix, Fitz and the Tantrums, and M83. The acclaimed producer first connected with ROMES over a mutual love for an irresistible-yet unpretentious rock sound. “We chatted about old and new songs that excited us which led to planning on what to do with the ROMES songs once we entered my studio,” he said. “I wanted to make sure you could literally ‘feel’ the power of the band as if you’re standing in the same room with them as well as be able to hear the personality of each member’s playing.” Hoffer’s touch, along with the guys’ genuine chemistry, makes ROMES the kind of band you want to let into your life immediately.

Title track, “Believe,” is as inspirational as it is addictive. As Jacob explained the song’s meaning, “Everyone has the power to dream and no one can take that away from you. I wanted to write a song to motivate all the dreamers, myself being one of them. Live your life how you want to, not how others think you should”.

ROMES stands out not only for their pop sensibilities, but also for the deeper message behind their songs. Jacob describes, “I look up to artists who document true emotion in their writing and I feel that’s rare in current pop music. While writing these songs, I wanted to make sure I was being real, direct and honest with myself. A strong melody with meaningful lyrics was always the goal”. After all, the purpose of music is to tell a story—and the ROMES’ tale is shaping up to be an exceptional one.
Venue Information:
College Street Music Hall.
238 College Street
New Haven, CT, 06510

Parking Information