And then there’s "I Would Hate You If I Could".
#Turnover peripheral vision shirt full#
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. Good Nature comes from a place of calm and contentment, nurtured by looking inward.Quite the coincidence that Peripheral Vision shares a very similar name as Title Fight’s risky, triumphant reinvention Hyperview, as well as its producer. This infux of new infuences and inspiration, navigated by Peripheral Vision producer Will Yip, results in the band's best album to date. Listening to how the leisurely "Nightlight Girl" melts into a more propulsive selection like "Breeze," and the way Good Nature flows together as a seamless whole, it's also evident that the foursome has been paying closer attention to how artists from earlier eras made full-length albums: the range of textures, tempos, and dynamics on Good Nature are infuenced in part by bossa nova, cool jazz, electronic music, and psychedelic grooves. Opening your eyes to new things, going outside of your comfort zone, and learning to grow into something new." The album's unique blend of musical and spiritual growth is immediately audible on the opening track, "Super Natural," a late-summer idyll of intertwined guitar parts and laidback vocals. Front man Austin Getz doesn't blink when asked to sum up Turnover's third full-length, Good Nature.
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