This week, we’re celebrating the release of Turnover’s fourth record Altogether, arriving via Run For Cover/Cooking Vinyl Australia today: Friday, November 1st. A three-track release the year following took them into a new direction followed on their acclaimed 2015 record Peripheral Vision, while on 2017’s Good Nature, things change again. Their debut, self-titled EP in 2011 is thick with the punchy guitar riffs of the world’s then-punk state, while their debut album two years later, Magnolia, shifts itself between the punk-rock ferocity that defined the band’s explosiveness and shadings of areas they’d come to later explore: dreamy shoegaze, emo-pop lyrical longing, subtle guitar-backed beginnings that hint at an indie-toned future before launching into the sound they were then-characteristic for. In the ten years since their formation, Turnover have presented many opportunities to change and evolve their sound - and that, they did. “No matter what mood you’re in, there’s a Turnover song to match it” may not be a popular saying, but at this point, it may as well be. In a way, this is because of Turnover’s gradual shift from a Virginia group classed amongst pop-punk’s rising stars to something so much more than that their experimentation and growth as an outfit meaning that not one release of theirs is like the other. Yet, Turnover have somehow always remained relevant across these long ten years of change, seemingly without trying to - something that can’t even be said for some of the biggest, highly-publicised popstars to blossom simultaneously to the band and their early work. In 2019, they celebrate their tenth anniversary as a band (and eight years since their debut, self-titled EP) - a decade in which the industry built around them has welcomed (and often, quickly farewelled) new technology and glimpses of viral, constantly-shifting trends. ‘Peripheral Vision’ is available in the Shop now.For a band with longevity like Turnover, change is inevitable. It’s a hidden masterpiece of the 2010s and demands your attention yesterday. I’ve grown with it and continue to take it with me as everyone else I know who knows it does. It’s universal in its appeal and application, and I’m yet to find someone who doesn’t like it. It’s a surreal and entrancing record that doesn’t overstay its welcome. But it’s important to remember that there isn’t a bad track on here, and the 40-odd minutes here breezes by like nothing else.
‘Humming’ and ‘Dizzy On the Comedown’ are cornerstones here and are shining examples of how high the hooks can reach.
‘New Scream’ and Diazepam’ are drug ballads for the new generation based on melancholy rather than partying. The Rx references are abundant and probably the best reference point for the state induced by the atmosphere of the reverb-drenched guitars and vocals. I’d say it’s how sentimental, simple and beautiful the songs are. It’s unsuspecting as it’s fairly simple with almost structures and writing resembling pop-punk more than Cocteau Twins, but that’s not what ropes most in. The easiest way to describe the record is dreamy. Turnover despite gathering a bigger following remains in relative obscurity compared to the success of their contemporaries (e.g. It has this almost magical effect of sweeping away listeners with its beautiful soundscapes and tranquil serenity.Īs it edges to its 10th anniversary, it remains a beautiful little gem of a record that divides the world into those who love it, and those who haven’t heard it. There hasn’t been a single person that I’ve told about this album that hasn’t loved it.
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