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Finding the sweet spot between overly personal and exceedingly vague is difficult to do but Getz nailed it. Getz’s troubles, though personal, are delivered in such a way that the listener is able to apply his/her own experiences to the concepts of distance, regret and desperation in order to evaluate his/her own life. Nothing’s ever gonna be the same as it was the first time.” Learning that everything is eventually gonna fade and you have to deal with that. “That’s kind of something that’s hard to deal with. “That song is pretty much about having the feeling overall that everything, no matter how exciting it is at the beginning, loses its spark and you’re always kind of chasing that same feeling that you get the first time you felt something,” he said.

At the same time, he’s wrestling with the reality that aging is inevitable and that the distance between the past and the present will always continue to grow. In the song “New Scream,” Getz attempts to come to terms with the fact that nothing’s ever as good as it was the first time. Whether it be his emotional distance from a current lover (“Diazepam”), attempting to distance himself from an ex-lover (“I Would Hate You If I Could”) or the distance from the person he once was (“Hello Euphoria”). However, the overarching motif of the record is the feeling of distance that Getz struggles with. Particularly on the song “Hello Euphoria” where he sings, “I wish I was more afraid/ I make all the same mistakes they told me I’d make.” I feel like I’ve undergone a lot of self-discovery and self-reflection.”Īll of that self-discovery resulted in lyrics such as “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,” on the closing and fittingly titled track “Intrapersonal.” Getz’s overwhelming feeling of regret is another topic he addresses.

“Especially in the course of the last year and a half. I think about thinking,” he said, choosing his words carefully. I think about what’s going on in my own head. “Probably because I’m insecure, I would say. Getz described why his state of mind during the writing process was responsible for the deeply personal, introspective theme of the record. We all have our own purpose now more than ever,” he later added. “I feel like it’s more our sound,” Dempsey said. The relationship I have with myself and kind of feeling a distance from the person who I thought I was and who I was becoming.” I feel like ‘Peripheral Vision’ is more about an intrapersonal relationship. “When we first started writing music, a lot of the songs were just about interactions with other people and other people letting me down or making me happy, whatever the case may be,” Getz said. The two of them were posted out in their van before a show in Albany, NY on Oct. Vocalist Austin Getz and bassist Danny Dempsey described how they see this record as a drastic departure from their older material both lyrically and instrumentally. Deeply rhythmic, yet smooth and palatable. What “Peripheral Vision” should be described as is brutally honest, yet open for interpretation. Nevertheless, it’s the members of these scenes that have recognized the beauty in “Peripheral Vision” and have launched Turnover into “hype band” territory. Nor should it be subject to the “indie” label the laziest and most undescriptive of all genre classifications. But in all honesty, there really aren’t any good ways of describing Turnover’s latest album “Peripheral Vision” other than emphasizing that it’s not pop punk, despite the band’s roots stemming from the connotatively adolescent genre. After roughly half a decade of above par, yet under the radar releases, the Virginia Beach quartet is finally on the tongue of the collective emo/indie/post-pop punk scene.

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