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Rather, they treat their music as an open door, inviting listeners from all walks of life into their music. They’re looking for conversations to spark between themselves and their fans. “My faith is a part of everything in my life, so I’d have to say, of course it’s part of the music,” Chapman said.
Studio albums
"We were beginning to take rock 'n' roll seriously," David Crosby says in the documentary. From struggling with anxiety on “One of Those Days” to working through nostalgia on “Trying to Survive” to experiencing the thrill of making new memories with old friends on “Landlocked Surf Rock,” the album speaks to what it means to be human. But Chapman shared that the band didn’t want the album to just be a personal diary of sorts.
Iconic festival: Woodstock in film
The Colony House is a rustic event venue featuring versatile indoor and outdoor spaces influenced by Anaheim’s craftsman style architecture. Finally, the Beatles and the Beach Boys influenced each other from across the Atlantic over several albums. The exchange began when Brian Williams of the Beach Boys sat down and listened to the Beatles' album Rubber Soul in awe. The record was a major inspiration for the layered tracks of Pet Sounds, while Pet Sounds was in turn an inspiration for the Beatles' next album, Sgt. Pepper's Lonely Hearts Club Band. Some cities are rooted in music history, like Detroit with Motown or Seattle with grunge rock. “When we stopped trying to define ourselves, there was so much freedom in that when you’re not trying to stick on certain labels and creatively let you let you off the hook somehow,” he continued.
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The album gained enough momentum to get the band on notable tours with artists like Needtobreathe, Ben Rector and Switchfoot, also breaking into the Billboard 200. Some say the Laurel Canyon music scene began when Frank Zappa moved to the corner of Lookout Mountain and Laurel Canyon Boulevard in the late 1960s. Former Byrds bassist Chris Hillman recalls writing “So You Want to Be a Rock ‘n’ Roll Star” in Laurel Canyon in 1966 in his house, on a steep winding street with a name he doesn’t remember. The Doors’ lead singer Jim Morrison reportedly wrote “Love Street” while living behind the Laurel Canyon Country Store. Michelle Phillips lived with John Phillips on Lookout Mountain in 1965 during the Mamas and the Papas’ heyday.
The nostalgia was overwhelming and forced the band to assess their past, present and future. But as they each spent more time refamiliarizing themselves with the Nashville and Franklin roads, they knew exactly what they wanted their next album to look and sound like. Transitioning from opening band to headliners is a pretty great indication that Colony House is on its way up with its latest album and beyond.
Extended plays
Books and documentaries have mythologized and romanticized this woodsy canyon nestled behind Sunset Boulevard in the Hollywood Hills. “I’ve been trying to challenge myself as a songwriter to leave a few more dots in songs,” Chapman said. I think for me and the rest of the guys, the culture we grew up in made us feel like we need to filter things through a certain lens and find a definitive answer.
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As the first bars of "Turn! Turn! Turn!" by The Byrds or the intro to "California Dreaming" by The Mamas and the Papas indicate, the California sound was something special. “It’s funny, but I’ve always found writing fun and happy songs is way harder than writing sad ones,” Chapman admitted. “Those are so easy for me at least — and not even sad, but just heavy, heavy content. It’s why Colony House’s music isn’t considered Christian music, but is still bursting with hope. Chapman shared the band wants to encourage listeners to recognize the reality of the world, which can be heavy and difficult, but still choose to pursue hope and fun. Part of redefining his view on life has involved thinking through how his belief system impacts all other parts of his life.
The band has a surprising ‘60s-rock-inspired undercurrent, evident in the surf guitar licks, tightly wound melodies and peppy tempos of several “Cannonballers” tracks. Initially built in 1948 as a tractor factory, The Colony House is now a bespoke event space that can accommodate parties of up to 500 guests. The foyer with filament bulb light installation and custom entry wall design will make an impression. The Great Room’s bow truss ceiling is a centerpiece of the main event hall, while centuries-old wood planks on the stage create a timeless backdrop for ceremonies and performances.
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Chapman spoke to how being raised in Christian homes — especially the home of a very well-known Christian artist — shaped the band’s worldview. Chapman was very adamant that through the writing process of Cannonballers, Colony House realized they still have a lot left to learn. The bandmates revisited their old stomping grounds, taking in the Nashville skyline, attending shows at venues where they first started out, visiting the skate park for hours upon hours at, even catching up with old, old friends.
Chapman knows that fans often turn to music and artists for help figuring out life. Colony House fans have been integral to the success of the band from the very start, all the way back in 2009. While they were still in high school, brothers Caleb and Will Chapman teamed up with Scott Mills and Parke Cottrell to form their indie rock band. For over a decade, the Nashville-based band has traveled the world together, sharing their one-of-a-kind surf-rock sound with millions of fans.
For more than a century, musicians have taken inspiration from “Wabash Cannonball,” a classic folk song popularized by Roy Acuff and The Carter Family. The album’s breakout single, “Silhouettes,” which was the most downloaded song on SiriusXM Alt Nation, led to their television debut later that year on NBC’s Late Night with Seth Meyers. They followed up with their sophomore LP, Only the Lonely, in 2017, and their third album, Leave What’s Lost Behind, three years later.
Rather, they wanted to connect with fans and speak to the familiar journey of growing up and letting go of the life you thought you were living, relearning and unlearning how the world works along the way. Growing up with a musician as a father, Colony House founding brothers Caleb and Will Chapman always had artistry in their blood. Kicking things off with the ever-fascinating premise of “Landlocked Surf Rock,” the album begins with an energetic love letter to Tennessee. “Nashville always felt like a small quiet city… in a way, it felt like it was just trying to keep up with the big cities, and I think that’s kind of how our band has felt for all these years,” they say. While working on a new song – a blistering brand of modern surf rock, with chest-thumping drums and immediately memorable “la-la” refrain – memories of that steel rollercoaster came rushing back to Chapman. From 1965 to 1967, during the golden era of the hippies and love and peace, California couldn't get enough of The Byrds' Mr. Tambourine Man or the Beach Boys' Pet Sounds.
After years on the road, however, the pandemic forced the band to return to their homes in Tennessee and stay put for the first time in a long time. Initially, Caleb shared, the guys weren’t sure what their future looked like. They’d been in the middle of a conversation with a few when she dropped the compliment.
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