Channel 93.3 Presents
SLEEPING WITH SIRENS
The White Noise, Palaye Royale, Chase Atlantic
Tue Sep 5
Doors: 6:00 pm / Show: 7:00 pm
Tickets at the Door
This event is all ages
With every online ticket purchased for Sleeping with Sirens’ fall tour, you’ll receive a choice of either a standard physical or standard digital copy of their upcoming album, Gossip, releasing September 22nd, 2017. You will receive instructions via email on how to redeem your album shortly after ticket purchase.
Ages 15+ without a parent
All tickets are non-exchangeable and non-refundable following purchase
Listed price does not include tax and service charge
Prices are the same Online, Over the phone or at our Box Office.
T.S. Eliot once famously claimed, “Only those who will risk going too far can possibly find out how far one can go.”
Risk catalyzes Sleeping With Sirens on their fifth full-length and first for Warner Bros. Records, Gossip. Through taking quantum sonic leaps, the quintet—Kellin Quinn [vocals, keyboards], Jack Fowler [lead guitar], Nick Martin [rhythm guitar], Justin Hills [bass], and Gabe Barham [drums]—reach the artistic heights they began angling for nearly 10 years ago, while amplifying musical hallmarks such as soaring and soul-striking vocals, wildly catchy riffing, and intricate beats.
At its heart, the record reflects not only creative progression, but personal as well…
“The story of Gossip really begins in me transitioning from a boy to a man,” admits Kellin. “I grew up basically my entire life playing music in this group. This record is me figuring out who I’m supposed to be as a musician, a husband, and a father. It’s a hard, scary, rewarding, and daring process that gets chronicled in the lyrics. Musically, I feel like it’s the first Sirens record that sounds specifically like us. We took chances, experimented, and continued to do what we do best: create art. It’s something new. It has an authentic sound that we’ve been working towards all this time.”
When it comes to alternative music, the boys have quietly pushed the envelope since the release of their 2010 debut, With Ears to See and Eyes to Hear. Along the way, Sleeping With Sirens’ delicate one-two punch of towering melodies and tight musicality galvanized a diehard fan base dubbed “Strays” as they sold a staggering total of 1.5 million albums worldwide. 2013’s Feel bowed at #3 on the Billboard Top 200 and boasted a standout collaboration with MGK entitled “Alone.” Its 2015 follow-up Madness went Top 15 and earned unanimous acclaim with The New York Times praising how it, “blends tender and anguished in equal measure.” Along the way, Alternative Press named them 2014 “Artist of the Year” at the Alternative Press Music Awards, awarded “Kick Me” the 2015 “Song of the Year”, and touted them on its cover six times. They’ve graced the main stages of Warped Tour, Reading & Leeds, and more in addition to Kellin duetting with Pierce The Veil on the gold-certified “King For A Day.” After a whirlwind 2016, the guys hunkered down in January 2017 and commenced work on what would become Gossip for the next six months.
The sessions earmarked a few firsts for Sleeping With Sirens. It’s the first time that they recorded in multiple states, working everywhere from Los Angeles and Nashville to New Jersey. It’s also the first time they collaborated with producer David Bendeth [Paramore, All Time Low]. Often tackling one vocal or guitar part for eight hours straight, the musicians meticulously tapped into what Kellin dubs an “Electric” energy.
“We finally captured the live experience with Bendeth,” says the frontman. “We have the production, but there’s a rawness that comes through. David is very old school. He really pushed us, and we pushed ourselves. We realized what we could do as artists, and we evolved.”
That growth shines through the first single “Legends.” Piano and drums resound as Kellin empoweringly chants, “We could be legends after all.” It’s a triumphant call-to-arms bolstered by swells of hulking hooks and guitar.
“It’s about looking at your life and all of the obstacles in front of you and maintaining faith, belief, and love in yourself no matter what,” he goes on. “If you want to be somebody great, you must have that confidence. We’re in an age where everyone is surrounded by social media and constantly being judged. So strength comes from within. It’s a reminder that the work and time will pay off in the end.”
Over propulsive clapping on the title track “Gossip,” Kellin presciently croons, “I got that new sound and when I come ‘round I’ll be your nightmare, I’m coming for you don’t be scared.” It sums up the album’s mission statement, proudly addressing the evolution over snapping six-string distortion and the scorching falsetto that turned the conversation towards Sleeping With Sirens in the first place.
“The song discusses what people say about you,” he explains. “It correlates to social media again and how humans generally act. Everybody always has an opinion, whether it’s good or bad. It’s such a different record for us. We took the leap. We stand behind it.”
Acoustic guitar slips into an avalanche of glitchy electronics and vocal torrent on “One Man Army,” while “Trouble” hinges on a danceable groove and swaggering admission, “I’m in trouble.”
“‘Trouble’ is all about being blinded by what we think is important,” continues Kellin. “We get in trouble because we lose sight of what really matters. It’s about coming to terms with what matters in life. For me, it’s the little things like the moments I get to sleep in my own bed, wake up, and see my daughter or when fans tell me I got them through hard times.”
Gossip signals the start of another chapter for the band as well. In 2017, they inked their first major label deal with Warner Bros. Records as Kellin puts it, “They operate like an indie and automatically felt like family. It was like the stars aligned.”
Ultimately, the risks yield Sleeping With Sirens’ boldest, brightest, and best work to date.
“No matter what anyone says, I want to encourage listeners to take risks of their own,” Kellin leaves off. “Our band took a chance. We’re going to back it. That’s all you can do as an artist. This is my diary. It’s who I am.”
“The name AM/PM is a reference to a song by the band Give Up The Ghost,” explains KJ. “Many people get stuck in the motion of living their everyday lives. The whole album encompasses how we choose to go through life. We’re creatures of habit, but we can choose to break out of that. Think outside the box. A lot of the songs encourage being introspective, self-aware, and not just doing the same typical shit every day.”
Ultimately, The White Noise push listeners to go deeper.
“We don’t want to stick to any one specific sound,” affirms KJ. “Every song stands on its own, but there’s a cohesion to the record because of how we play. At the core of everything, we’re a rock band. There are no boundaries to that.”
Since their formal emergence in 2015, The White Noise has made waves. Alternative Press hailed their Aren’t You Glad? EP among “The 12 Best EPS of 2016” and claimed, “The LA group have left an undeniable mark on the scene with the first six songs of their career.” Further acclaim came from New Noise Magazine and more as the band incinerated stages on tour with I Prevail, Dance Gavin Dance, and many others. Meanwhile, “Picture Day” clocked over 683K Spotify streams and 512K YouTube views. Throughout 2016, the boys recorded what would become AM/PM with producer Drew Fulk [Motionless In White, We Came As Romans] in Los Angeles. Along the way, they succinctly sharpened their style.
“Drew really understands the big picture of a song,” explains KJ. “He knows how to help us arrive at the end result we want. That’s why we love working with him. We got to achieve the vision we set out for together.”
Now, AM/PM codifies that vision. The first single “Bite Marks” swings from an ominous and airy beat into a vampiric vocal volley barely above a whisper before unexpectedly snapping into an unforgettable refrain.
“It’s really about temptation,” he goes on. “You’re giving into a relationship that you know you shouldn’t, but you’re addicted to the feeling. The song has more of a sexual overtone. It’s something different for us.”
Meanwhile, “The Best Songs Are Dead” gallops at full speed ahead on a punked-out riff as it collides into an arena-size chant. “Initially, I wanted to write something that would’ve fit into the video game Tony Hawk’s Pro Skater back in the day,” explains KJ. “It feels like people don’t put the same emotion into the songs that artists used to. The best songs are dead. Bands had something to say. There’s no point now. We wanted to write a call-to-arms for that honesty.”
AM/PM threads together a captivating musical narrative. After a buzz of feedback, “Picture Day” showcases the band’s knack for a hook, and “I Lost My Mind (In California)” taps into a sun-soaked groove a la Weezer. With its chilling clean guitars and haunting lyrics, “Montreal” takes a personal turn. Each moment adds another layer of complexity to the album as a whole.
“There’s a lot going on in the songs,” KJ leaves off. “I’d love for people to listen to this album and find that deeper meaning for themselves and take something tangible away.”
“It’s fast-paced dirty rock ‘n’ roll that makes you feel a certain way,” Remington proclaims. “It’s been a long time since bands really put on a show. When you saw the Rolling Stones on stage, it was huge. We want that element of fashion and spectacle to come into play again.”
“It’s got a creative side which we love from classical music,” adds Sebastian. “At the same time, we grew up in Vegas, so we love to get theatrical.”
“We want to inspire the new culture of youth to indulge in rock ‘n’ roll and everything the lifestyle brings with it,” agrees Emerson. “It’s the pursuit of art and music for this generation of flower children.”
Born in Toronto and raised in Las Vegas, the boys found themselves immersed in music at a young age. In their late teens, the brothers would trade the “City of Sin” for the “City of Angels,” founding Palaye Royale.
“The name automatically connects us to another era,” explains Sebastian. “Palaye Royale is the dancehall in Toronto where our grandparents met in the fifties. We’re very cognizant of history and culture. I feel like that’s getting lost. We’d love to revive an appreciation of it.”
They also did things the old-fashioned way, insisting on playing hundreds of shows before cutting a proper album. They would embark on the High School Nation Tour two years in a row in addition to sharing the stage with the likes of Camp Freddy. At the insistence of Alex Burdon—daughter of The Animals singer Eric Burdon—Sumerian Records caught one show, was effectively blown away, and signed the group the same night. In the summer of 2015, Palaye Royale recorded Boom Boom Room (Side A) in just three weeks’ time with the help of another legend…
“James Iha produced the album,” continues Sebastian. “He just wanted to make a rock record. We’re huge fans, and it was amazing to collaborate.”
“He allowed us to be creative,” says Emerson. “Because he’s an artist himself, he understands how fragile and delicate the process of recording can be. He knows exactly where we’re pulling from and channeling our image and music. He did a similar thing in the nineties!”
The first single “Don’t Feel Quite Right” shimmies from a bombastic beat into a swaggering riff that culminates on an unshakable chant.
“We wrote the song about a lot of girls who live in Los Angeles,” admits Remington. “They’re those annoying pseudo-models online.”
“It’s about the world of ‘Instagram Famous’ girls who will do anything for acceptance in this world,” affirms Sebastian. “We got really honest with the lyrics and images here.”
Elsewhere, Palaye Royale threads together the cinematic “Mr. Doctor Man,” “Sick Boy Soldier,” and “Clockwork” into one psychedelic and fascinating narrative.
“The three songs tell a story,” Remington goes on. “‘Mr. Doctor Man’ comes from the perspective of the doctor, ‘Sick Boy Soldier’ continues it from the perspective of the patient, and ‘Clockwork’ conveys an overall synopsis of being lost. Much of the record is about losing your mind. It reflects what we were experiencing while writing.”
For “Ma Chérie,” Palaye Royale tapped the talents of close friend Kellin Quinn [Sleeping with Sirens]. “It’s about a married French woman I dated,” sighs Sebastian. “I didn’t know she was married, but I found out down the road. It’s that whole L.A. nightlife scene and everyone trying to be someone they’re not. Kellin liked the song, and he really helped bring it to another level. We love what he did!”
Boom Boom Room (Side A) is only half of the story though. The band has (Side B) on deck next. The whole package speaks to the lost mythos of rock ‘n’ roll evocative of places like New York’s Boom Boom Room and in the hearts of their heroes such as iconic music manager Kim Fowley—to whom the album is dedicated.
“He heard our band through KROQ DJ Rodney Bingenheimer,” recalls Sebastian. “Rodney put him on the phone with us, and we hit it off. We just became really good friends. It’s that outrageous quality of people like him that lives on in Boom Boom Room.”
“It’s all a state of mind,” Remington leaves off. “We had one wild night playing a gig at the Boom Boom Room, and it stuck with us. Our Boom Boom Room is something like a dreamscape reality. That’s what rock music should be.”
THIS DELICATE BALANCE QUIETLY TRANSFORMED THE GROUP—MITCHEL CAVE, CLINTON CAVE, AND CHRISTIAN ANTHONY—INTO A VERITABLE SENSATION DOWN UNDER WHILE STILL IN THEIR TEENS. SINCE FORMING IN 2011, THE BOYS HAVE PACKED MULTIPLE HEADLINE TOURS ACROSS AUSTRALIA, AMASSED AN IMPRESSIVE DIGITAL FOOTPRINT OF FOLLOWERS, RELEASED TWO SUCCESSFUL INDEPENDENT EPS, DALLIANCE  AND NOSTALGIA , AND SPAWNED A VIRAL SINGLE WITH “FRIENDS,” WHICH GARNERED AN INCREDIBLY LARGE COUNT OF SPOTIFY PLAYS.
HOWEVER, THEIR SHARED AMBITION ALWAYS EXCEEDED THE CONFINES OF THE BEDROOM STUDIO WHERE THEY INITIALLY RECORDED. “WHILE ALL OF OUR FRIENDS WERE DOING GAP YEARS AND FINDING THEMSELVES, WE WERE WORKING ON GETTING THE WORLD TO NOTICE US,” ADMITS MITCHEL. “WE MADE THIS AGREEMENT WITHIN THE BAND THAT WE WEREN’T JUST GOING TO STAY IN AUSTRALIA. WE WANTED TO SIGN TO AN INTERNATIONAL LABEL, AND WE WOULDN’T STOP UNTIL THAT HAPPENED.”
“WHAT WE WERE DOING WAS DIFFERENT FOR AUSTRALIA,” ADDS CHRISTIAN. “IT FELT LIKE WE WERE THE ONLY ONES PUTTING OUT MUSIC THAT WE PRODUCED AND MADE ENTIRELY BY OURSELVES. THAT’S THE PROCESS. IT’S REAL.”
THAT SPIRIT CAUGHT THE ATTENTION OF THE MADDEN BROTHERS DURING 2015. MULTIPLE MEETINGS IN AUSTRALIA FOLLOWED, AND THE THREE-PIECE SIGNED WITH THE INDUSTRY ICON’S MUSIC COMPANY, MDDN. IN 2016, CHASE ATLANTIC FLEW TO LOS ANGELES SCORING A DEAL WITH WARNER BROS. RECORDS.
“THE MADDENS LOCKED US AWAY IN A BURBANK STUDIO FOR THREE MONTHS AND THREW AWAY THE KEY. WE REALLY GOT TO PRESERVE THAT ORGANIC SOUND,” SAYS CLINTON.
WITHOUT OUTSIDE INFLUENCES, THE THREE-PIECE PRODUCED, PLAYED, AND RECORDED EVERY NOTE, INCLUDING SAXOPHONE. ALONG THE WAY, THEY HONED AND FINE-TUNED A DEFINITIVE STYLE EQUALLY REVERENT OF TAME IMPALA AND SKRILLEX AS IT IS OF THE WEEKND AND TRAVI$ SCOTT.
“TO US, PRODUCTION IS THE MOST IMPORTANT THING,” MITCHEL GOES ON. “IT’S THE MOST CRITICAL ELEMENT OF CREATIVITY. WE PUSH OURSELVES TO FURTHER WHAT WE CAN DO EVERY DAY, WHETHER IT’S PRODUCING OR PLAYING. WE REALLY FOUND OUR MUSICAL IDENTITY THIS PAST YEAR.”
NOW, CHASE ATLANTIC ROARS TO LIFE ON THE FIRST SINGLE “CHURCH.” GLITCHY SYNTHS BLIP IN THE BACKGROUND AS MITCHEL’S BREATHY VOICE HAUNTS AND HYPNOTIZES. BELLS RING WHILE THE HOOK—“I’M ABOUT TO TAKE YOU BACK TO CHURCH”—SIMPLY SEDUCES. “IT’S VERY FORWARD, SEXUAL, AND AGGRESSIVE,” EXPLAINS MITCHEL. “THE LYRICS ARE SEXUALIZING RELIGION IN A WAY, AND THE SONG ENDS UP BEING THE COMPLETE AND TOTAL OPPOSITE OF WHAT CHURCH REALLY MEANS TO MOST PEOPLE.”
ELSEWHERE ON THE RECORD, THE AIRY “INTO IT” TEMPERS A DOWNTEMPO GROOVE WITH AN UNSHAKABLE REFRAIN BEFORE A JAZZ-Y SAXOPHONE SOLO TAKES THE SPOTLIGHT. “IT REPRESENTS THE TRANSITION INTO A NEW, MORE INTENSE LIFESTYLE,” SAYS CHRISTIAN. “YOU’RE ACKNOWLEDGING THAT THIS SOMETHING YOU’RE INTO AND CAN ROLL WITH. IT’S OUR STORY.”
MEANWHILE, “RIGHT HERE” URGES FOR A CARPE DIEM MOMENT WITHIN A RELATIONSHIP. “IT BASICALLY SAYS, ‘FUCK EVERYBODY ELSE. IT’S JUST YOU AND ME’,” MITCHEL REVEALS. “ALL THAT MATTERS IS THE TWO OF US IN THIS MOMENT.”
ULTIMATELY, CHASE ATLANTIC FORGE A LASTING CONNECTION THROUGH THAT HONESTY.
“THE ONE THING WE WANT PEOPLE TO TAKE AWAY FROM THE MUSIC IS THIS ELEMENT OF REALLY FEELING THEMSELVES,” MITCHEL LEAVES OFF. “A SONG CAN MAKE YOU GO, ‘FUCK YEAH,’ AND YOU’RE THINKING ABOUT IT AND SINGING IT ALL DAY. YOU’RE NOT LEFT UNDERWHELMED. YOU’RE OVERWHELMED. WE WANT THAT.”
“AND WORLD DOMINATION,” AGREES CLINTON.
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