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Last year, I had the privilege of seeing Turnover play their widely beloved emo\/dream pop (dreamo?) classic Peripheral Vision<\/a> in full for its 10th anniversary at The Fillmore in Philly with my sister and her husband, the people who got me into the band in the first place. I had already seen the band twice by that point, but that was the best they\u2019d ever sounded. They were able to breathe new life into these songs and make them sound refreshing with a newfound sense of urgency, giving them the same care and craft that they gave on record. That same sense of urgency carried over to the new songs they had played that night: \u201cNightjar\u201d and \u201cLittle Bees Don\u2019t Bite,\u201d then known as \u201cNew One\u201d and \u201cNew Too\u201d respectively. After such a lull in their career creatively, it felt like a breath of fresh air to hear the band finally embrace what their fans love about them; these were the best Turnover songs I\u2019ve heard in a decade, and I was confident that they had finally recorded a truly great album again. Now Down on Earth is here, and it is indeed the best Turnover album since Peripheral Vision. The band has surpassed my expectations, and then some.<\/p>\n Leading up to this release, I had a very complicated relationship with Turnover\u2019s music. I understand Peripheral Vision is this massive behemoth of an album to follow up, but the way I see it, Turnover had two easy routes to take\u2014expand on Peripheral Vision\u2019s atmospherics and dream popside and drop emo entirely without sacrificing what was special about their music, or play it safe and get lighter and lighter until the music loses its luster. They seemed to go with the former decision when they came out with the great Humblest Pleasures single, but afterward they ultimately took the latter path. I think Good Nature is a worthy enough followup, maintaining the dreaminess of Peripheral Vision with a happier twist that remained engaging. But that was, at the time, their last genuinely great album. Usually, when a band diversifies their sound, it\u2019s in a way that works for them. In Turnover\u2019s case, none of the changes suited their sound. Altogether had some bangers, but it\u2019s generally a dreary slogfest, and Myself in the Way is their most boring album, offering only lethargic, dazed-out dance songs. Experimenting with your music doesn\u2019t always yield the best results, and the band needed to do it in a way that felt natural.<\/p>\n Down On Earth by Turnover<\/a><\/p>\n Down on Earth isn\u2019t necessarily Peripheral Vision 2; it\u2019s more like the follow-up Peripheral Vision never got. There\u2019s a type of moodiness that looms over both records, but what Down on Earth does is expand on Turnover\u2019s influences like Cocteau Twins, Dinosaur Jr and Beach House, giving them an edge without resorting back to emo sentimentality either. They hit the studio with their longtime front-of-house engineer Zac Montez and culled songs together from jammy improvisations. \u201cMaybe reminiscing around the anniversary seeped into our subconscious,\u201d said singer Austin Getz. \u201cBut at its core Down on Earth was the experience of just seeing what happened when we played together, without holding onto a tight idea of what we wanted it to be.\u201d The result is a dreamy indie rock album that actually rocks, a department Turnover had been lacking in and have gotten back into gracefully.<\/p>\n \u201cWheelie for No One\u201d lets you know right off the gate that this side of Turnover is back, ushering in the album with entrancing guitar tremolo effects and Getz\u2019s indecipherable, completely processed voice. His vocals here is a choice that I can imagine some fans not being on board with, but I honestly think it works for the hypnotic vibe the song provides. We then have the singles<\/a>: \u201cNightjar\u201d is a blissfully melancholy slice of dream pop that sounds just as gorgeous as when I first heard it live, and \u201cI See You and Realize\u201d is a Smiths-esque love song with Getz adapting a lower register that more than a little reminds me of Morrissey. Then come the two best songs on Down on Earth, \u201cMy Hand Is a Curtain\u201d and \u201cI\u2019m Up, I\u2019m Up.\u201d The former finds Getz sounding the most lost and forlorn he\u2019s been since anything on Peripheral Vision, lamenting how abandoned he feels being separated from someone as he stares at the stars trying to cope with the weight of this heartbreak while the earth keeps spinning. But then on \u201cI\u2019m Up, I\u2019m Up,\u201d he\u2019s boldly become one with the stars, proclaiming, \u201cYeah, I\u2019m still dumb \/ Yeah, I am a genius \/ Giant step my way to the moon,\u201d while the band puts on a backdrop that evokes \u201890s indie rock at its prime. The song ends with a beautifully weird harmonica solo, a much welcome interjection in its haze. There\u2019s a consistent throughline of celestial imagery in these songs that very cleverly supplements Getz\u2019s reflections on loss and loneliness. It should be worth pointing out that Getz sings differently on each of the first five songs on Down on Earth, which works perfectly for this album\u2019s direction. This is how you diversify your sound.<\/p>\n