Published May 01, 2015It is a rare, wonderful thing when a band dares to stretch beyond what is expected of them, and manages to find a balance between familiarity and musical growth that complement their overall sound perfectly. Turnover's transition on their latest LP, Peripheral Vision, finds them precisely in this position.
2013's Magnolia was a step forward from the Virginia quartet's early years of brazen, unfiltered pop-punk that found them opting for a slightly more mellow, nuanced take on modern emo for their first full-length; with the release of Peripheral Vision, it could not be any more clear that Turnover have acknowledged their knack for beautiful subtlety and deliberately honed it.
Airy and ethereal from beginning to end, the commonality of every song on this album is the extent to which they interweave incredibly lush, richly textured layers of sound; each song is a swirling mixture of glossy post-punk guitars, harmonized vocal lines drenched in reverb, synths and ambiance, punctuated by the familiar melancholic melodies that provided the strongest points of the band's previous work.
"New Scream" waxes and wanes between moments of simplicity and gorgeous polyphony, highlighting the dreamy vocal hooks in the verse with a warm, prominent bass line before the overlapping waves of sound creep in when the chorus begins.
Singer Austin Getz employs poignant, vulnerable lyricism throughout the record that is often juxtaposed against the carefree bounce of songs like "Take My Head" on which, backed by cheery, floating guitars, he almost ironically croons, "It's the worst in the summer, those happy songs on the radio…" before plunging into a brutally vivid chorus depicting various acts of self-inflicted violence.
Peripheral Vision finds Turnover at their strongest and most dynamic yet, masterfully incorporating new and adventurous sounds while maintaining the heartfelt authenticity that they've come to be known for. (Run For Cover)