Home Read Albums Of The Week: Flipturn | Burnout Days

Albums Of The Week: Flipturn | Burnout Days

THE EDITED PRESS RELEASE:Burnout Days is the new album from five-piece indie-rock powerhouse Flipturn. Across its 12 songs, the LP finds them harnessing their impressive knack for hooks, shimmering soundscapes and nostalgic lyrics. But on Burnout Days, Flipturn display more grit, craft and vulnerability than ever before — a clear evolution in the band’s sound, and one that reflects their growth as musicians and individuals.

Recorded at Sonic Ranch Studios near El Paso and produced by Chad Copelin (Wilderado, Broncho), Burnout Days was inspired by the band’s journey on the road, as they sort through challenges like self-esteem, codependency, addiction and the twists and turns of day-to-day life in one’s mid-20s. Together, they uncover the beauty that exists even in times of burnout through a mix of raw, rhythmic moments and sonic experimentation — all with a palpable sense of meticulousness and maturity.

The new album arrives on the other side the band’s debut Shadowglow, which found the band sharing stages with Two Door Cinema Club, The Revivalists, Mt. Joy, Goth Babe and Rainbow Kitten Surprise, while breaking into the festival circuit with sets at Bonnaroo, Lollapalooza, Austin City Limits and Governor’s Ball — a culmination of years of hard work and the coming together of the band’s lineup: Vocalist Dillon Basse, Tristan Duncan (lead guitar), Madeline Jarman (bass, backing vocals), Mitch Fountain (synth, guitar) and Devon VonBalson (drums).

The single Rodeo Clown is an alt-pop track dedicated to the lure of escapism as a way to wrestle with the weight of mounting expectations. “It’s a song about coping with stress through a vice as a way to escape a reality I didn’t want to be in at the time,” says Basse. “Contrary to ‘the man in the arena,’ the rodeo clown in the ring distracts and puts on a show for those around him.”

Formed in a small coastal town in Florida, Flipturn came together in high school, where they worked to turn garage meetups into playing college house shows into headlining sold-out dates for thousands, performing across continents to their rapidly expanding, deeply dedicated fanbase. In just a year, the band jumped from playing the Bowery Ballroom (575 capacity) in New York to Brooklyn Steel (1,800), from Black Cat (800) to 9:30 Club (1,200) in D.C., and from Lincoln Hall (500) to House of Blues (1,800) in Chicago.”