Infinite Shuffle

June 29, 2015

216 – Turnover

Filed under: T, Virginia Beach Va. — assman41 @ 4:39 pm

Considering all of the parallels between Title Fight and Turnover, it’d be reasonable to assume that I discovered the latter while listening to the former.

In actuality, I happened upon Turnover while listening to a New Indie Rock mix on Google Play. I liked several of the songs, but one in particular stood out. So much so that I stopped the mix and immediately focused my attention on this band.

Not only did I instantly fall in love with Turnover’s latest release, Peripheral Vision, but almost as quickly did I see an obvious connection to the aforementioned Title Fight.

In addition to sharing a producer on their latest efforts, both bands began in the emo/pop-punk genre before eventually transitioning to more of an indie rock sound. Title Fight’s evolution was gradual and came over several albums. Turnover morphed much more rapidly.

In his review of Peripheral Vision, Pitchfork’s Ian Cohen sums it up nicely.

“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.”

Turnover formed in Virginia Beach, Va., in 2009 and put out a few EPs before signing with Run For Cover Records in 2012. They released their first full-length album, Magnolia, in 2013.

The songs on that disc were a little more toned-down their previous stuff. And maybe that’s because lead singer Austin Getz had more responsibilities after taking over rhythm guitar duties from the departed Alex Dimaiuat in 2012.

Throughout the album, Getz and Co. channel their inner Dashboard Confessional with varying degrees of success. But rather than come off as whiny teenagers pining for love, they seem more resigned and melancholy.

The 2014 EP, Blue Dream, seemed to be a statement to fans that the group was taking things more seriously. It’s just three tracks, but it includes “Read My Mind”, which is the first time Turnover had ever really taken whatever it is that makes them stand out and synthesized it into something more complete.

But even that release couldn’t have prepared the Turnover faithful for Peripheral Vision, which dropped on May 4 of this year.

The first things listeners are struck by are the new guitar sound and filtered — probably auto-tuned — vocals. Right off the bat, on “Cutting My Fingers Off”, it’s clear that there’s a lot more going on with this album, from instruments and vocals to the overall production. And all of it is adding to the sound rather than taking anything away.

“New Scream” is just as strong and leads into arguably the best track here, “Humming”. The opening melody pulls you in and keeps you hooked throughout. And the way Getz sings the chorus is reminiscent of Stornoway — just without the accent.

The album dips a bit on “Hello Euphoria” and “Dizzy on the Comedown”. Neither song is bad, they just get overshadowed by the preceding songs. The latter tune gets points for the line “It’s just a euphoric comedown,” which I can only hope is in reference to the former track.

Things pick up again with “Diazepam”, a song where you start out bobbing your head to the beat, but, by the end, you’re shaking your head in agreement with the lyrics. “Like Slow Disappearing” in another solid track that takes a backseat to its bigger brothers. “Take My Head” is a bit of a sleeper and has all the makings of a single.

Following a couple of filler tracks, the album closes on “Intrapersonal”, which sounds just like another song I loved from the past couple of years but cannot recall right now. (Feel free to listen to it and help me out in the Comments section.)

Turnover are still considered a supporting act, so this summer would be a great time to catch them before they break out. They hit the road in August, spending a couple of months in the Eastern time zone before eventually heading west in October.

Advertisements

June 13, 2015

215 – Title Fight

Filed under: Kingston Pa., T — assman41 @ 3:13 pm

When it comes to the four albums released thus far by Title Fight, NPR did a great job of describing the group’s evolving sound: “A punk band keeps smearing its sound into something prettier.”

Starting with 2009’s compilation disc, The Last Thing You Forget through Hyperview, which came out this past February, there is a steady progression from Warped Tour cast-offs to My Bloody Valentine’s heir apparent.

That first disc, which is a mix of early singles and whatnot, lives up to its emo/hardcore label. Sounding like any number of bands touted by Alternative Press, there isn’t a great deal of substance here.

But with the release of their first studio album, Shed, in May 2011, Title Fight started to show signs of potential, growing heavier and “shedding” the pop-punk vibe. Particularly halfway through the disc on songs such as “Safe in Your Skin” and Where Am I?”

They didn’t take long to show their growth, when, in September 2012, they dropped Floral Green, a much heavier album with almost nary a sign of their pop-punk past.

Now, with Hyperview, the evolution appears complete for the Kingston, Pa., quartet. The disc opens with a very chill, shoegazey “Murder Your Memory” before launching into the mumbled, MBV-soaked “Chlorine”. That vibe continues on the more-decipherable “Hypernight”.

Those three songs, while solid in their own right, are like a preamble before things really take off, starting with “Mrahc”, the first track that seems single-worthy and sees everything starting to click. Then there’s “Your Pain is Mine Now”, which is arguably the most complete song on the album.

“Rose of Sharon” is another catchy tune that manages to differentiate itself from those preceding it. “Trace Me Onto You” feels like above-average filler, and it takes an interesting change of pace about halfway through the track.

“Liar’s Love” is a great example of the group’s sound and the other main contender for top song. It’s no wonder NPR picked it for its Austin 100 mix. It’s followed by “Dizzy”, which is an extra-slow tune that brings you back down to Earth before “New Vision” puts a little pep in your step and sends you on your way.

It’d be nice to think the group has found its sweet spot and will explore this sound for a while, but who knows with these guys.

Blog at WordPress.com.