by Jillian Fliedner
[three_fourth]Turnover’s third full-length, Good Nature, is a stunning take on love, perspective, and growth, accompanied by warm guitar and vocals throughout. Singer Austin Getz describes love as being “soft as velvet” in “Bonnie (Rhythm & Melody),” which is also an appropriate description for the album itself. Laced with the smoothest transitions, Good Nature is something you find yourself wanting to soak in entirely, and the way the transitions create such a cohesive and pieced together album, you barely notice you are moving onto a completely different track.
Although their previous album, Peripheral Vision, set the bar extremely high for Turnover, the trio managed to not disappoint. Despite there being some low moments, the album flows masterfully, which is entirely fitting of the album’s theme. The openers “Super Natural” and “Sunshine Type” set the tone for both the sound and the lyrics for the entire album, creating an aura of warmth and sincerity.
This album’s sunny vibe is not for everyone, especially if Turnover’s darker lyrics from Peripheral Vision and Magnolia are a requirement for liking the band. This difference in lyrical content is apparent when you look at a song like “Take My Head” off Peripheral Vision with the lyrics “I want to smash my face until it’s nothing but ears” to the “Bonnie (Rhythm & Melody)” line, “Now all I can hear is rhythm and melody in my ears”. However, the darkness from Peripheral Vision and Magnolia still shines through in the track “What Got In The Way,” where Austin sings and hums along to a fitting melody about the curiosity behind a failed relationship. Even when he describes the walls that he had built around himself falling down as “the prettiest sound that I’ve ever heard” in “Butterfly Dream,” the somberness from the previous album is still there to tease you sweetly. The darker tones find themselves perfectly contrasting with the lush tones of songs like “Pure Devotion,” “Curiosity,” and “Bonnie,” which speak of commitment, the importance of an open perspective, and loving someone. This distinction shines through with the way the band utilizes Austin’s voice to match the guitar accents and pacing, creating a balanced sound that alternates between the two tones. The eighth song “Breeze” is a perfect example of this contrast that the instrumentation creates. Each track sounds absolutely gorgeous in different ways while still keeping the album’s overall vibe strong.
Despite the mellow beauty caked throughout, the album still finds itself plagued with a few weak moments, but they are little and far between. “All That It Ever Was” and “Living Small” break the flow that made this album close to perfect. “All That It Ever Was,” although a good song on its own, does not fit the mold set by the band for this album and ruins the streak of perfect transitions, as it’s more of an intermission for the ending of the album than a fitting song. “Living Small” does not hold a torch to the other songs as far as memorability goes, feeling unnecessarily slow and mundane, and it’s the only song from the album with a frustrating amount of repetition. However, the highlights of the album, such as the heart-fluttering inducing bridge of “Nightlight Girl” and the perfectly thought-out guitar bridge in “Breeze,” more than make up for the low points.
Moving past the negativity, Good Nature is a more than memorable album, with rich guitar sprinkled throughout that perfectly complements Austin’s tranquil vocals. The lyrics and their delivery make you want to believe in love, which is quite a feat coming from a dreamy emo band such as Turnover, who have themselves critiqued happy, summer songs in their previous album. The album not only satisfies, but also gives you more than you were asking of it by forcing you to lend your mind briefly to its loving perspectives on life, making you grateful in the process.