Turnover reflect on ten years of Peripheral Vision

Released on a four-way split with Maker, Such Gold and Ivy League TX, whilst the chorus still retains the energetic, borderline gang vocal elements of their earlier material, this would mark the start of their new sound with the song featuring softer, interlaced melodic guitar lines and the Blue Dream EP that was also released later in 2014.

The result is an album that thematically stands as a breakup record as much as it is a retrospective gaze on tender and intense moments in a relationship. Instrumentally, the music transcends the personal misery from the lyrics. Ranging from passionate, love spell lines such as “I want to run and hide/with you tonight I know that I can make it out, with you I know I’ll make it out alive” on “Humming” to blissfully macabre on “Take My Head” (“I want to fall asleep with the TV on/and let the house burn down until it’s gone with me inside.”) The guitars are warm and comforting, with a woozy ambient guitar pedal that soars throughout the duration. Backed by driving post punk drum fills and impactful emo lyricism, physically packaged in a worn, orange film aesthetic that the band couldn’t imagine the record existing without today.

Written and released when Turnover had collectively all reached their early 20’s, frontperson Austin Getz agrees thatPeripheral Vision is a record about the exploration of the self. Whilst he admits an uncertainty if that is ever truly achievable, Austin feels like it’s always important to get to know yourself deeper. His interpretation of life is “constantly believing that you have things figured out until you realise you don’t again, and have to start over.”

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Ten years ago, Turnover had made several trips to the UK supporting the likes of I Am The Avalanche and Major League, having fitted comfortably with the likes of Seahaven, Balance & Composure and the wave of hardcore-adjacent emo bands that subsequently made their mark in this part of the world. A year later, they would return in support of their second full length Peripheral Vision that would change everything for them.

“I’ve been thinking about that tour a lot recently, we did that with Teen Brains and Claws.” Austin says, having just finished soundcheck in preparation for the first night of their biggest London headline show to date at the Roundhouse in Camden.

“When you’ve been touring for as long as we have, the years sort of blur into one another but that one I will always have distinctly in my memory. At that point, all we had been used to was playing small, half empty clubs and we were fully prepared to have that expectation again.” Much to Austin and Casey’s delight however, the tour was mostly sold out due toPeripheral Vision having been out for around six months and fans starting to pick up on it more in the UK than in the states at that point in time.

However, Austin emphasizes that the success of the record and how on this anniversary tour stops have included the 6,000 capacity Red Rocks Amphitheatre in Colorado, he considers the entire process to be a slow burn. A few years after Myspace but before TikTok, Tumblr and Twitter dominated the online spaces for Turnover’s label Run For Cover, many bands, both on the label itself and adjacent, contributed significantly to the access and awareness of artists that were previously only popular in niche circles of the internet.

“In 2015 we toured so much.” Casey notes, opening a White Claw from the green room fridge and perching on the side of the sofa next to his brother. “We were getting paid around $200 dollars a night, we once did a tour with New Found Glory and we opened before an acoustic act!” Austin adds that playing across America for that specific tour was “one of the funniest things I’ve ever done” whilst being accompanied by their friends in Turnstile, as they had been booked to play with other pop punk bands but opted to play songs entirely from Peripheral Vision before the record was due to be released. It is likely that for a lot of the attendees, it was their first exposure to the dream pop genre. “Our first year was all support tours and even when we headlined with Citizen we would switch up who would close each night.”

“So it definitely wasn’t overnight, it’s been a very slow burn of people finding it which I always think is cool.” Austin adds, “We've had some peers who have known other artists that have had an overnight blow up, and that can be hard to adjust to. I'm definitely very grateful for the experience that we had in grinding it out in the band playing small stuff, because it just makes you appreciate stuff like this so much more.”

Years after Peripheral Vision was released, Turnover would stray further from their roots into more experimental and sonically diverse genres of music inspired by freeform jazz and 80’s synthpop on Myself In The Way whilst still continuing to play a healthy selection of songs from it. As Casey and Austin explain, with the first year of the album’s cycle being mostly opening slots for the band, this is the first time they’ve had a set long enough to be able to play it in full without worrying about showcasing music for other album cycles.

For the last few years, an anniversary tour for Peripheral Vision was something Turnover had been talking about as 2025 approached. Reflecting on the band post-COVID, having not toured for a while and being grateful to have live shows back as well as seeing how much people cared about the album in turn helped Austin appreciate it more too, enriching the experience of getting to share the mutual love for Peripheral Vision at these shows in particular.

Of course, a worldwide tour of the album wouldn’t be complete without a stop at their hometown of Virginia Beach. Originally when the Getz brothers moved there across the country from New Orleans for high school, they initially “fucking hated it”. However, it’s the place they discovered underground punk and hardcore shows and through those connections, the birthplace of Turnover itself and the people who were written about on Peripheral Vision. Austin admits the initial move had growing pains as he started freshman year and Casey, starting seventh grade, was taking anti acne medication and hating everything as all his “hormones were out of whack.”

“We were lucky enough to have a scene of music that some people growing up never get to experience,” Casey reminisces. “There’s still a version of it now but we absolutely had a good one as the band was coming up.” “Title Fight and Tigers Jaw were touring here constantly, alongside hardcore bands like Cold World, Trapped Under Ice and local bands like Down To Nothing.”

“When our early material was melodic hardcore, it fused together with what was going on at the time. For us that was the birth of realising that you could actually go on tour and meet people all over the country, so Virginia Beach definitely helped shape that.”

Austin adds that the one thing that supersedes that type of music genre is the DIY aspect of it and that the ethos becomes so core to what musicians and fans want, which is ultimately, as he puts it, “literally just kids putting shit together on their own. That is what I feel brought all those genres together back in the day verses now. That’s why when you see massive bands that don’t sound similar to one another it feels different because there’s not that element of it being small and something that everybody is putting their individual parts on. I moved away from LA recently but whilst I was living there I saw lineups with skramz and shoegaze bands playing together. It felt like the ethos of what we grew up with and I’m excited to see what that turns into.”

When asked what the Getz brothers' favourite hardcore bands are, without naming ones that include their friends, they are stumped for a clear answer. Austin reiterates that this was the other aspect that made coming from that scene so special for Turnover. “All your favourite bands happened to be your homies. It was such a privilege!”

Moving the conversation back to what the band will be up to once this tour finishes, the band are set on continuing to evolve their sound, this time into alt-rock and the keyboards being put to rest for now. With their next album having been recorded at Earth Analog Studio owned by Matt Talbot of Hum, and significant input from their touring front of house engineer Zach Montez.

A bittersweet aspect of creating a record as definitive as Peripheral Vision is having fans who were disappointed that the band were no longer making similar sounding songs. However, Austin hopes that for those people that they will be excited about their new material.

"That’s the thing with young people starting bands. If you look at The Beatles, the shit that they were playing was basically the equivalent of pop punk in that it was energetic and accessible. You’re a young kid, you grow out of it and then you start doing something different. For Title Fight, that was Hyperview, for Citizen that was Everybody Is Going To Heaven. That’s the great thing about rock music from the world we come from, it’s not too genre specific and people will be willing to give it a shot if it’s an artist that they already know.”

As the interview winds down, the conversation pivots back to talking about his favourite memories of Virginia Beach from Turnover 's early days. Austin casually displays a printed out Instagram screenshot from 2012 outside of a convenience store. He appears to have a black eye, with the caption “Suckerpunched at the beach tonight but my boys had me.” The punch of course never took place, and was the result of a shadow on his face through the filter on his camera. However, it was convincing enough that vocalist Mat Keres messaged Austin asking who was responsible and if he should come down there and sort them out in retaliation. “The funniest thing is, I reposted that photo again recently,” he grins. “My wife got a text from her mom like ‘oh my god, did you see that Austin got jumped on tour?’ And it’s like, ‘do you still think I look like this?”