Finding a sound is important for a band, just make sure not to get lost in it. Coming in for their third record, Virginia trio Turnover have a sound and know how to play in it. This said their new record while strong and full of great melodies, is often sounding a little too repetitive, or crowding its melodies to the point that none of them stand out.
With a dreamy haze the album opens on “Super Natural,” as the bass crashes up and down like waves. The smooth groove of the verse glides along quickly before the sunny, glistening choruses brighten things up more. “Sunshine Type” slows things down a little for more of a 70s vibe as the band washes things out. While the verses tend to dry up a little too much, the barrage of melodies in the chorus is an overpowering mix.
Digging in with a deliciously neon riff on “What Got In The Way,” they sweep listeners up in the current of the song. The relentless movement makes each of the hook returns in the chorus all the more invigorating. “Butterfly Dream” crafts a more stark and gripping verse, that opens up the chorus to a much more dynamic hit as it comes in. The subtle harmonies and plucked out notes come together in a delightfully minimalist combo that make the song really stand out.
“Curiosity” finds the band riding their sound and momentum well, while giving us a blend of a lot of what they’ve been repeating up to it on the record. Luckily as its their tightest and most addictive track it’s easier to overlook but the overt sense of familiarity is a little hard to shake. Separating the bits and pieces a little on “Pure Devotion” each guitar and bass has its own focus, and the vocals cut through even sharper. The focus also allows for a real focus on the melodies themselves making the whole song stand out for its really memorable hook on the record.
Leaning into grooves more than dense melody-mashing, “Nightlight Girl” has a definite sway to its feeling. The more shimmering track moves with a little more glamour than other tracks and while simple and repetitive, works in its delivery. “Breeze” feels like an even deeper sonic evolution for the band, tight surf with a little bit of synth sheen. Given this total overhaul it wipes away the redundant hints you can find in the melodies as it stands strong nonetheless.
On clean guitars, “All That It Ever Was” mashes surf and pop-jazz into something fun and candy. Launching into heavy reverb and deep, rollicking bass, the track quickly morphs into a beast of its own, chugging along with power and distinction. “Living Small” showcases even more great vocals as the riffs dance around the rest of the band. The drums drive and lock the band creating a rhythmic centre that makes it all feel more dance-focused and fun. “Bonnie (Rhythm & Melody)” has such a driving vocal that it powers through the opening of the track. This said, despite all the extra sense of exploration in the minor tones of the track, it just seems like a redundant statement at times in the overall scheme of the record.
Words by Owen Maxwell