He's earnest enough when he's fussing over his transition into adulthood ("New Scream", "Hello Euphoria"), but just as often, he's reading off Robert Smith flashcards, his imagery full of dissolution, disintegration, dizziness, disappearance and descent-you get pretty much all of the above during "Dizzy on the Comedown", which reveals the wisdom of bands like Wild Nothing who purposefully go blank on lyrics.ĭespite its stylistic reverence, Peripheral Vision can actually be novel when Turnover most resemble their previous incarnation. On "Diazepam", Getz emasculates himself as a preemptive strike against the inevitable-"Your father doesn’t like me ‘cause I’m not into sports/ And your mother won’t approve because I’m not of the cross/ I took an upper before your sister’s wedding just to help me pretend," creating a heretofore-unfathomable nexus between Blink-182 and Galaxie 500. Throughout, Getz's lyrics are either effective or seriously awkward and there’s very little in between. The chorus of "Take My Head" is florid, AP English self-pity delivered as a pop punk shout-along, "Humming" is sophisticated bedsit pop that expresses the same desires as "Dixieland Delight" or "Chattahoochee", minus the geographical signifiers.īut just as often, the gap between where Turnover is and where they want to be is painfully obvious. "Radio-friendly" is mostly theoretical in 2015, but Yip tends to work with bands who've managed to find young, dedicated, merch-buying audiences who still believe in the idea of big-tent alternative rock as a refuge.Īnd so you hear a lot of atypically crowd-pleasing, extroverted maneuvers here-the gorgeous opening reverie of "Cutting My Fingers Off" is blown open by a bridge of pulse-quickening drum rolls similar to Brand New’s "Sic Transit Gloria…" or any given Explosions in the Sky song. But you can tell that they come to their new sound from a realm that prizes vocal, lyrical and sonic clarity-Austin Getz's vocals are unusually upfront and legible for this style of music, and Will Yip’s production is crystalline and sleek. In Turnover's case, their pop punk past is nipping at their heels: Their self-titled debut EP justly earned the tag, and even after 2013’s Magnolia smoothed out some of their more Warped Tour affectations, they were doing shows with Dashboard Confessional 2.0, This Wild Life, and the perpetually short-pantsed, hair-gelled schlubs in New Found Glory as recently as last month. In each instance, a traditionalist punk band goes headfirst into more aqueous forms of indie rock, but retain qualities which put them at an advantage over the countless wan, limp bands who decided to sound like the Smiths from the beginning. Album DescriptionQuite the coincidence that Peripheral Vision shares a very similar name as Title Fight’s risky, triumphant reinvention Hyperview, as well as its producer. See More Your browser does not support the audio element. Turnover have expanded their range with Peripheral Vision, and this new direction agrees with them. Most of the songs like "Cutting My Fingers Off" and "Like Slow Disappearing" ride a midtempo wave of understated, late-summer melancholic pop, stripping away much of the angst and putting the focus on their improved and far more subtle songcraft. Standout track "Humming" is a melodic, sundazed gem full of rich harmonies and thoughtful, chiming riffs. Working again with producer Will Yip (Title Fight, Circa Survive), Turnover have dialed down the distortion and attitude in favor of a highly textural dream pop/shoegaze-inspired sound. While their 2013 debut album, Magnolia, showed a more brooding, melodic side, there was little to indicate the new direction they would take on their surprising 2015 follow-up, Peripheral Vision. Virginia Beach quartet Turnover originally came out of the pop-punk scene, crafting a heavy, emo-inspired EP in 2011 and signing with Boston indie Run for Cover Records shortly afterward. Purchase and download this album in a wide variety of formats depending on your needs.
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