Unfortunately, this kind of easygoing sound is still inherently limiting in tempo, instrumental, and melodic variety. They manage to escape the more extreme fate of bands like Title Fight by presenting the listener with a highly refined, mature sound, but don’t quite manage to avoid the plague of sameness. This tends to be the largest issue with the recent shoegaze revival, and Turnover doesn’t quite manage to be an exception to the rule. Unfortunately, break-ups, wistful lullaby vocals, and a tender ambient backdrop is a limited arsenal. This is an appropriate approach, as it allows for more mature subject matter to be explored and splattered across the already colorful canvas of instrumentals with genuine artistic conviction, and not be muddled in the process. In his sauntering, he recounts and introspectively examines old memories of love as they fade in and out about him. Rather than being caught in a chaotic whirlwind of emotion like albums past, Getz seems more to be wandering aimlessly through a thick haze. None of this is sung with quite the conviction as prior Turnover releases, but it better suits the music now. Juxtaposed against the fairly glittery backdrops, the lyrics and vocals are comparably gloomy. Such subject matter is fairly typical for the genre, but is done in such an interesting, stylistic manner that the familiarity of some of the stories told can be forgiven. Turnover weaves concrete observations and scenarios with delicate analogies to form a web of frustrated accounts, mostly detailing failed romance. On Peripheral Vision, the lyrics are particularly noteworthy, and integral to its overall cohesiveness. “Losing you is like cutting my fingers off”, Getz croons to close out the song. It feels more like a return to form than the rest of the album, but nonetheless sets the mood off with a captivating clap of sound, and exemplifies some of the best traits of the record. It unfolds into the most familiar Turnover song on the record as its guitar tones retreat to more distorted territory and crash into a climactic finish. Getz embraces his natural baritone voice and strides into frame, shouldering a melancholic recollection of love lost. A gusty wave of ambient electronics gradually roll in, giving way to gorgeous, shimmering guitar noodling. The album blooms into existence with the opening track “Cutting My Fingers Off”. Peripheral Vision is a realization of Turnover’s ongoing evolution, and, unlike the works of other bands who have followed a similar path, comes fully into its own.
The addictive melodies and mesmerizing, bouncy guitars have stayed course, just trained slowly into new territory. But if one traces Turnover back to the start, Peripheral Vision is not a radically unexpected departure so much as it is a natural continuation of the band’s sound. This transition into a more refined indie sound, a la Title Fight or Pianos Become the Teeth, is all too familiar to pop punk and hardcore fans as of late. From Magnolia, twinkling guitars and wandering emo vocals slowly gave way to vocalist Austin Getz shoegazing over hushed landscapes of ambient fretwork and mellowed drums.
TURNOVER PERIPHERAL VISION TATTOO FULL
Their debut full length, Magnolia, significantly trimmed the youthful uneasiness and frustration of their EP into a far more restrained, melodic record. However, the signs along this journey were all too apparent. Somewhere along the way, things changed, transforming their sound drastically and almost unrecognizably into the dreamy and summery soundscapes of Peripheral Vision. Their explosive self-titled EP, entrenched deeply in familiar pop punk angst of yesteryear, set them on an unexpected course. Something’s been brewing inside Turnover.
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