Fat Wreck Chords and Canadian punks The Flatliners, are pleased to announce the release of their brand new LP, New Ruin (stream and purchase). The record is currently streaming on all digital platforms, including Brooklyn Vegan, which also posted a track-by-track breakdown from vocalist Chris Cresswell. The band is on tour in Europe, with US and Canadian dates to follow, including The Fest in Gainesville, FL. To read more about their first album in five years, check out what The Flatliners had to say below:
New Ruin is equal parts love letter and hate mail, empowerment and embarrassment, hopefulness and despondency. For the first time in a long time, we’re looking out instead of in, and it’s not all pretty. There’s a new weight to the world now we as people can’t deny, and the only way to make this record was to try to achieve that same feeling in these songs. They’re angry because we’re angry. They’re loud because these are the things we need to be loud about. No better way than through. No brighter way to burn.
Being a band for 20 years won’t just change you. It changes how you see the world, and your place in it. For long-running Toronto punk mainstays The Flatliners, a new record meant a new opportunity to examine the legacy they’ve inherited, and the one they’ll eventually pass on. It’s an imperfect one, but not without hope.
“This record is us sitting in an uncomfortable moment, with the world around us falling apart, and then trying to learn from it,” says vocalist and guitarist Chris Cresswell. “No one needs to listen to us, but we want to try.”
New Ruin is a shot of adrenaline from a band striking out at outdated institutions and ideologies via pointed lyrics and their heaviest songs to date, attacking each with a ferocity that will surprise even longtime fans. From the monstrously discordant hits that open the album through the de facto thesis statement of “Heirloom,” it’s clear that The Flatliners are angry in a way we’ve never heard before.
At the same time, they’ve never been more in control. Produced by Cresswell along with the rest of the band, songs like “Performative Hours” and “Recoil” boil with livewire post-hardcore energy while “Souvenir” and “Big Strum” offer a more tightly coiled aggression that hints at the band’s anthemic punk past. Recorded at Toronto’s Noble Street Studios and Genesis Sound with longtime friend and engineer Matt Snell, the album sounds both open and immediate, the cumulative effect of two decades performing together. Says Cresswell of taking the reins, “At this point, if you’re 20 years in and don’t trust yourself…”
Brought to life by what he calls a “dream” team with mixer Anton DeLost and mastering courtesy of the Blasting Room legend Jason Livermore, New Ruin deftly combines the pop ambition of Inviting Light with an aggression the band has only hinted at before, giving in to their grarliest tendencies. It’s an approach the songs – and the moment – demanded. Take “Heirloom.”
“It’s hate mail to the previous generation,” says Cresswell. “All their brilliance and ingenuity has just left our generation and future generations in the dust and unable to afford the world we live in, with this enormous emotional and environmental toll. It’s so demoralizing.” But amidst the rubble of the modern hellscape, the band isn’t without hope. Album closer “Under A Dying Sun” offers its own version of solace and salvation, bringing the crashing album to a close with a thoughtful grandiosity that hints at some light at the end of the tunnel.
It might be because, despite the darkness, The Flatliners were having fun for the first time in a long time. Producing themselves, recording with friends, and playing music together after almost 600 days apart – their longest stretch since forming in 2002 – New Ruin is also the sound of a band rediscovering the joy of making something meaningful together. Cresswell calls it a gift.
“There is another side to the negativity that lives on this record,” he says.”It’s also a powerful time. So many more people are talking about things that really should have been talked about a long time ago. It’s one step in the right direction. Art and music can be part of that. We all kind of fucked up, so we can try to fix it. It’s not too late, but it’s almost too late. It’s almost too late.”
The Flatliners Tour Dates – Tickets Available Here.
- 5 Aug 2022 in Duffel, Belgium @ Brakrock 2022
- 6 Aug 2022 in Amsterdam, Netherlands @ Q-Factory
- 7 Aug 2022 in Hamburg, Germany @ Knust
- 8 Aug 2022 in Tolmin, Slovenia @ Punk Rock Holiday 2022
- 9 Aug 2022 in Munich, Germany @ Strom
- 11 Aug 2022 in Igea Marina, Italy @ Bay Fest 2022
- 12 Aug 2022 in Limburg, Germany @ Tells Bells Festival 2022
- 13 Aug 2022 in Berlin, Germany @ SO36
- 8 Sep 2022 in Vancouver, BC, Canada @ Rickshaw Theatre
- 10 Sep 2022 in Edmonton, AB, Canada @ Super Friendly Fest
- 11 Sep 2022 in Calgary, AB, Canada @ Commonwealth
- 28 Oct 2022 in Gainesville, FL, US @ FEST 2022 – OCT. 28th-30th
- 5 Nov 2022 in Silverado, CA, US @ Punk In The Park 2022
- 16 Nov 2022 in Washington, D.C., US @ Songbyrd
- 17 Nov 2022 in Philadelphia, PA, US @ First Unitarian Church
- 18 Nov 2022 in Brooklyn, NY, US @ Brooklyn Made
- 19 Nov 2022 in Boston, MA, US @ Sonia
- 8 Dec 2022 in Quebec City, QC, Canada @ L’Anti Bar
- 9 Dec 2022 in Ottawa, ON, Canada @ Bronson Centre
- 10 Dec 2022 in Montreal, QC, Canada @ Foufounes Electrique
- 16 Dec 2022 in Toronto, ON, Canada @ Longboat Hall
- 17 Dec 2022 in Toronto, ON, Canada @ Danforth Music Hall