Turnover - Peripheral Vision (10 Year Anniversary Edition)
Ten years on, the Virginia Beach band close out a chapter — leaving no loose ends.
Just over twenty years ago, the emo scene began to see a resurgence. The early 2010s was defined by a new wave of bands gaining traction across Bandcamp and Tumblr, with acts such as Title Fight, Foxing and Modern Baseball reshaping the genre. The once coveted slacker punk sound of the ‘00s was fading out, transforming into something less outwardly brash, and more methodically contained.
Enter Turnover, the Virginia Beach quartet fronted by Austin Getz. They made their mark with the 2011 self-titled EP, followed by their debut studio album ‘Magnolia’, two years later. The band slotted well into pop-punk and post-hardcore communities, gaining positive, widespread reception by the time ‘Magnolia’ was released. As the emo revival reached its peak in 2015, Turnover stood at a crossroads; continue with the pop-punk sound that they were establishing within the tight-knit Virginia underground scene, or answer the call to a more atmospheric, insular brand of indie rock? ‘Peripheral Vision’ was their response.
The sophomore record embraced the spirit of a genre in a constant state of flux. Turnover stepped away from the raw, scathing energy of their earlier work to unearth a new sound defined by lush melodies and deeply reflective lyricism. It was generally met with praise, though its stylistic change divided opinions. For devout fans, it came somewhat out of left-field, leaving many hungry for the heavier sound that Turnover was building upon. But over time, the album’s thoughtful, moody compositions would strike a chord. ‘Peripheral Vision’ would prove its value as a source of influence among peers and fans within the scene, becoming an underground cult classic and seminal addition to the band’s catalogue.
Now, a decade later, its deluxe reissue proves that the album wasn’t just a departure, it was a doorway. It marked the beginning of a significant transition for the band — current line-up consisting of Austin Getz (vocals/guitar/keys), Casey Getz (drums), Daniel Dempsey (bass) and Nick Rayfield (guitar) — one that would shape the trajectory of their sound and identity by laying the groundwork for the even more expansive, genre-blending albums that would come in the years to follow.
At nearly two hours long, the new edition includes the eleven original ‘Peripheral Vision’ tracks, instrumentals, two bonus songs and six alternative recordings. ‘Cutting My Fingers Off’ opens with the distant whisper of a sustained electric guitar note, as if swept up by the wind before settling into a wistful, arpeggiated melody. It goes against the chilling grain of Getz’s vivid account of a relationship lost and his strong sense of accompanying regret. It’s exemplar of the extremes depicted throughout the record, leading with a recollection of a New Year’s memory with mournful inflections, escalating to a perturbed acknowledgement of shortcomings (“You always said that every thought I had was geometric/I couldn’t think outside my own lines”) before reaching its peak when Getz belts out a desperate closing plea:
“To make you go, to make you go/I never wanted to make you go/You might be a stranger now/ But I just wanted to let you know/That I meant what I said/And every dream I’ve ever had has been of myself/Every dream I’ve ever had has been of a better view and a ten month summer/Losing you is like cutting my fingers off/And even with that summer/Without you I’d rather cut my fingers off.”
The subtle yet devastating build-up of ‘Cutting My Fingers Off’ delivers an immediate blow that following track ‘New Scream’ attempts to soothe. Guitar lines shimmer against a deep bass timbre, depicting a greater sense of drive and urgency while Getz works through a solitary rut. “Craving that new scream/Lusting for more than just old dreams/I’ve been dying to feel alive/And I’ve been wasting all my time/Chasing the high” he sings, maintaining a keen sense of self-awareness and a discontentment with being stuck. It’s a sentiment that works in alignment with the deep feelings that ‘Peripheral Vision’ explores in no particular order. Rather, they play out with an organic unpredictability which feels authentic to the experience of working through an emotionally transformative period.
Take ‘Humming’, the third track, which fully realises the dreamlike atmosphere introduced on previous songs. It examines a relationship from another perspective, one which stems from a place of admiration towards someone with a substantially optimistic outlook on the world. The carefree energy that acts as a source of solace and intrigue is richly captured with light, breezy instrumentation and Getz’s endeared musings that are best summarised by the line “Show me why you’re always smiling/Laugh again and make me fall in love”.
After such a joyous, innocent reflection, the dissociated state that Getz emulates through echoes of “I feel so far/I feel so far away” on ‘Hello Euphoria’ feels unnerving, but it’s certainly not where the turbulence ends. ‘Dizzy On The Comedown’ revisits the saturated nostalgia of ‘Humming’, carrying a similar curiosity as Getz shares his inner world in a bid to feel understood, no longer enduring the highs and lowsalone. However, ‘Diazepam’ goes further to reveal the underlying strain, with the admission of “I don’t know what I need/I don’t know if I’ll be there for you” indicating that the self-doubt and inadequacy held in ‘New Scream’ has not yet been resolved. Arguably, it rears its head with greater force on ‘Diazepam’, to the detriment of the connection that is so clearly longed for.
For a moment, that bond is found again on ‘Like Slow Disappearing’ as Getz recalls an acid trip that culminates in a visceral sense of oneness. It’s during this experience that he is drawn out of his fear, seeking guidance and revelatory relief in someone else. His breakthrough is given space to be impactful with a steady rhythm, the most pivotal points of the recollection accentuated by iridescent guitar tones while he delivers what might be the most profound expression of alignment with another person portrayed on the record: “I closed my eyes and suddenly we were attached/You stayed with me after the moment passed/I felt you/Buried deep under my chest/Like my lungs when I’m breathing in/And I was not myself when I opened up my eyes again”.
If you stop the album there, you can assume that Getz has achieved the height of euphoria, his inner turmoil translated into a rebirth. Unfortunately, that is not the case. The last four songs of the original release make it clear that his disposition is not contingent upon one experience of self-dissolution, or even the temporary comfort of someone else’s positivity as the psychic wounds which bleed through many of the tracks reach a crisis point on ‘Take My Head’. The deceptively cheerful, ornamentally grainy instrumental creates a sharp contrast to the darker lyricism through which Getz yearns for an escape from his thoughts with a graphic, frustrated chorus: “Cut my brain into hemispheres/I want to smash my face until it’s nothing but ears/I want to paint my drain with a little red stain tonight.”
‘Threshold’ follows as a brief moment of clarity — a one-minute instrumental in which languid, chiming guitar melodies stumble over restrained percussion and a static bassline. It’s a defined limit leading into a post-breakup outpour on ‘I Would Hate You If I Could’. Suspended between unresolved feelings and the desire to move on, ‘Intrapersonal’ brings Getz’s complex spiral to an end as he surrenders to the anguish, recognising that his vulnerability is being observed. “There’s a fever burning up in me/I’m tangled up inside a sinking feeling/Slipping out of touch with the controls/It’s all intrapersonal,” comes as a natural conclusion for Getz, summarising the whole of ‘Peripheral Vision’ as a rendering of restless introspection.
Overall, ‘Peripheral Vision’ is a timeless album, thanks to its dimensionality. The band weaves through drastic states of self-deprecation, angst and romantic idealism all sugarcoated with jangly indie pop instrumentals. It never loses relatability. There are points where some songs pull more weight than others, but they all work together to form a collection sodden with nostalgia and melancholy, much like sifting through a box of old photos — it’s a keepsake that you can always come back to. The more you dig, the more connected you feel to the moments that you rediscover.
The despondent closer ‘Intrapersonal’ is expanded on the anniversary edition with ‘Humblest Pleasures’ and ‘Change Irreversible’, two singles that were released one year after ‘Peripheral Vision’. While their sound bears some similarity to that of the original songs, the instrumentation feels more upbeat and frontward-facing. The lyricism is more abstract, whereas the original tracks derive much of their emotional depth from the vivid reimaginings of memories illustrated through candid songwriting. Despite the extensive self-examination poured into ‘Peripheral Vision’, ‘Humblest Pleasures’ shows Getz recognising that on a personal level, he hasn’t really changed.
Ultimately, the singles don’t compensate for anything lacking, but they are an interesting bridge between the contemplative, hazy makeup of ‘Peripheral Vision’ and subsequent albums; the bright, hopeful composition of ‘Good Nature’ (2017), the experimental and conceptual musings of ‘Altogether’ (2019), and the progressive insights which lead Getz to finally celebrate his growth on ‘Myself In The Way’ (2022).
There is some level of skepticism to be held about the addition of eleven instrumentals, but they are a sentimental nod to any Turnover fan wanting to experience ‘Peripheral Vision’ in its most stripped-down form. Normally, Getz’s vocals are the focal point, giving his narratives a lasting resonance. When the instrumentals stand alone, attention is called to the way that their textures broaden to convey a mood without becoming indistinguishable. For an album that thrives on a consistent sound, it’s a nice touch that allows for subtle nuance to be enjoyed.
The same can be said for the alternative tracks, re-recordings of ‘Cutting My Fingers Off’, ‘Humming’, ‘Diazepam’, ‘Like Slow Disappearing’, ‘Take My Head’ and ‘Humblest Pleasures’. The production of the alternatives comes across as off-kilter, glossy in some places and gritty in others. There’s an uneven deconstruction, with Getz’s vocals taking an unfiltered tone while the instrumentation incorporates a handful of impromptu motifs that fluctuate between understated and overt. Reminiscent of demos, the alternatives serve their purpose as just that — different takes on a few of the most notable tracks from the album. While they are certainly not replacements for the originals, their reinterpretation feels symbolic. Combined with the instrumentals, ‘Peripheral Vision’ is given another opportunity to be appreciated through its dissection. Speaking on the re-issue, Getz has said: “We’ve learned so much about these songs playing them over the last ten years. It’s amazing to have the opportunity to put them onto the record again in a brand new light for everyone to hear.”
The celebration doesn’t stop there. Towards the end of April, Turnover began a 38-date Peripheral Vision Anniversary Tour that will span the United States, Canada, Europe and the United Kingdom, with the band playing the album in full for the very first time — much to the delight of longtime followers.
The 10-Year Edition of ‘Peripheral Vision’ does great justice to a formative period that is looked upon fondly by many. Offering new layers for fans to uncover, the re-release of the original songs reinforces a lasting relevance, while the two singles extend the storyline and signal forthcoming musical arcs. The instrumentals streamline the finer details of each composition, whereas the alternatives propose new ways of experiencing standout tracks altogether. Simply put, it’s a generous reminder of why ‘Peripheral Vision’ holds the title of Turnover’s best album to date and, as the alternative tracks would indicate, truly can’t be replicated.
Although ‘Peripheral Vision’ has been brought out for a moment in the sun — affirming its undeniable impact — the thorough reassessment and accompanying tour feels like a momentous send-off, honouring the moment that the record first captured the hearts of a generation while also serving as a forward-looking milestone. Considering the creative leaps that the group have taken on recent albums, it seems impossible to predict where they might head next. But ten years later, Turnover is moving on, closing out their most significant chapter with no loose ends.
Photo Credit: Vitor Jabour Cosse
