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That’s not supposed to be the enduring message of Peripheral Vision, at least not according to Getz. Perhaps the message is that even as your tastes in music mature, getting fucked over in a relationship hurts as much as it does when you’re 16. It's hard to figure out an appropriate emotional reaction to the raw, honest, and unsympathetic character in 'I Would Hate You If I Could'.

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And then, instead of a chorus reminiscing about the simple, bittersweet pleasures of suburban life or the challenges of fatherhood, how about the bitter memories of rough sex with your ex, pinning her against the wall and trying not to wake her roommates. They still sound like Turnover’s application to Captured Tracks finishing school, but retain pop punk’s main lyrical drivers of social and sexual insecurity. One of the really chill ones like 'Green Aisles' or 'Pool Swimmers'.

And then there’s 'I Would Hate You If I Could'.

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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. Quite the coincidence that Peripheral Vision shares a very similar name as Title Fight’s risky, triumphant reinvention Hyperview, as well as its producer.