It’s hard to imagine that in rock ‘n’ roll’s 50-plus years of existence bands are able to take the prerequisite ingredients of loud electric guitars, three chords and a 4/4 beat and still come up with something unique. But for Theory of a Deadman vocalist/guitarist Tyler Connolly, the stylistic contrast between his band and headliners Staind is part of what is making the pairing so successful.

“I think if we went up there and had the same kind of sound and enthusiasm that Staind did — — you know, something darker – I think it would be taking something away from their presence and their stage show,” he said. “I think our job on this tour is just to get the crowd going and excited for Staind and let some people that have never heard of Theory of a Deadman get to see us.”

With the release of its second album last year, Theory of a Deadman has gone from being a new and relatively inexperienced band to a veteran of rock’s new breed. Connolly said the success the quartet met after its first album, 2002’s “Theory of a Deadman,” and the roadwork that ensued, lead them to improve as musicians and songwriters when it was time to re-enter the studio for last year’s “Gasoline.”

“I think we made a natural progression, based on our first record. We toured so much that we got so much better as musicians. I mean, we were these kids that could play our instruments, could sing and whatnot, but we hadn’t seen the world, we hadn’t been on a tour bus, we hadn’t played six days a week,” he said. “It changes you – you become a different person and you get really good at singing and talking to people and doing interviews and so when we did a second record it just became our profession.”

Connolly said Theory of Deadman’s successes and long touring stints weren’t without its stressful moments, but a lengthy period of relaxation following the grueling trek recharged the band’s creative batteries.

“It was definitely overwhelming to go through what we did; it was just so hectic and so f—ed up, and some people can’t travel that much and some people can’t fly in planes and sleep on a moving tour bus and whatnot,” he said. “It can get to you, but we went home and rested for 6 months and gained some weight and wrote some cool songs, and it became exciting again.”

In addition to dealing with the stresses of touring, the band was also forced to let one of its member’s go prior to the recording of “Gasoline.” However, Connolly said the lineup change actually made the recording process more streamlined.

“Our first record we had a drummer, Tim Hart, but he never drummed on the record, and it kind of made it difficult, because here you’ve got this guy that is in the band and makes decisions for the band. But when it comes down to it he doesn’t want to play drums on the record, which is kind of odd,” he said.

“So our second record we fired Tim, which was really sad for all of us, but we kind of realized it was really the three of us that were making the creative decisions, because he wasn’t playing drums on the records.”

Now that Theory of a Deadman’s lineup has solidified with the addition of drummer Brent Fitz, Connolly said the band can focus achieving its goals and furthering their its progression.