Turnover peripheral vision new wave8/17/2023 ![]() ![]() ![]() They have a talent for commanding a stage and crowd, though. Their brand of grunge-y pop-punk was certainly popular, and while a couple of songs from Everybody is Going To Heaven were played, it was surprising that they focused on older material. Starting off with “The Summer” and “Sleep”, these two tracks from their hugely popular record Youth immediately got them off to a great start, with the majority of the crowd shouting the words back to them. A good set, but could be infinitely more interesting.Ĭitizen on the Signature Brew stage managed to draw probably the biggest outdoor crowd we’d seen so far. All band members seemed to stand perfectly in one spot throughout the set, bringing little to no stage presence at all. Although, live, it was much of a muchness. The songs from that record are well-crafted and show off the band’s knack for writing riffs and choruses. Turnover’s widely popular Peripheral Vision was showcased, almost in full, making up 90% of their set. His classic sense of dry humour and Avalanche songs like “Brooklyn Dodgers” and “Green Eyes” provided a nice nostalgic singalong early on. Over on the acoustic stage Vinnie Caruana was playing a set of I Am the Avalanche songs to precede the Movielife’s set later that evening. Songs like “Gravity/Grace” and “Bicycles for Afghanistan” were just made for singalongs. Starting off with “XXXX (The First Thousand Years of Solitude)” and a The Troubled Stateside-heavy set was incredible to witness as they jumped around the stage, and were incredibly musically tight. Their melodic hardcore was a welcome surprise, since they don’t play too regularly following their reunion a few years back. ‘Peripheral Vision’ is available in the Shop now.Crime in Stereo were a rare treat, playing on the Signature Brew stage early on. 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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