When Glow On helped Turnstile scrub the moniker of a "hardcore 311," it's safe to say it left a divisive taste in many mouths. To me -- and a bevy of loyalists -- it represented a welcomed evolution. They legit became pop-dance-hardcore. It hooked Gen-Z's as well, giving them their own brand of hardcore. Of course, old timers (*cough* John G *cough*) didn't see any real intrinsic value. Turnstile, at that point, was just radio-friendly, accessible pop. However, those who knew what Nonstop Feeling and Time & Space hinted at (aka the real ones) easily accepted that lead vocalist and main writer, Brendan Yates, merely clamored freedom and creativity to express the band's personal influences. Well, Never Enough continues to nosedive into that realm in a manner that's even poppier, catchier and anthemic -- something that will definitely have boomers saying "this isn't hardcore or punk. It's slop rock." But if they do take the time and listen to all the tracks, while not flawless, this collection of songs is indeed an ethereal alternative experience chock full of diversity, energy and fizz.
What I adore most is how Turnstile gets the album off to a hot start. Glow On did just that with the likes of "Mystery" and such. Here, songs like the shoegaze "Never Enough" and the dance-hardcore "Sole" accomplish the same. The former feels like a Slowdive tribute, while the latter is essentially a sequel to "Don't Play" off the last album. Off the cuff, you can tell Turnstile doesn't want to redefine anything. They're simply staking their own sonic territory. Whether intentionally or not, they're crafting effervescent novelties, which has garnered immense plaudits from critics and fans alike. It doesn't matter if they're old or new; the majority see this as a breath of fresh air breaking the monotone hardcore formula at present. No disrespect to Knocked Loose, Code Orange or even Sleep Token. In terms of melding genres, Turnstile has that variety and versatility many crave.
It's evident in the synth-new-wave element of the album, too. '80s fans are serviced well with vibes layered in from The Smiths, The Police, New Order, Joy Division, and XTC, while modern acts like M83 and Beach House get sprinkled in. It makes sense given A.G. Cook helped produced with Yates. Hipster? Sure, but worthwhile with its own Turnstile twist. Again, this is a direction older bops like "No Surprise" hinted at.
Turnstile also love paying homage to their previous material, which is something nostalgics would quickly latch onto. "I Care" has that "New Heart Design" feel; heart on sleeves and unapologetic in its cheesiness. But make no mistake, the lyrics are deep, ruminating on love, life and Yates' recovery. "Dreaming" also has that feel of "Blackout and Gravity" -- infectious with its trumpets, samba, Louisiana cut and ska essence. It distills down into a beautiful cosmic reggaeton trip. But once more, Turnstile doesn't sink into a comfort zone. They quickly turn it up with art that streaming services like Netflix and video games (here's to you Tony Hawk Pro Skater) would indulge in.
"Sunshower" is a prime example. It's that Bad Brains stepson, which I admittedly wanted more of on the last PUP album. The same for "Birds." There's even something for fans of Balance and Composure, Title Fight, Superheaven and Citizen. Droned out, fuzzy emo on "Light Design" that co-producer Will Yip excels at. Heck, there's even a 311 "Perfect Mistake" pastiche that I'd ask you to drop in the comments. It compounds: it's time we appreciate the band and not take things too seriously. They don't. Their fans love them for it, and the shows are off the charts. Trust me, I've been there and it's helped me to understand to let go of the past, embrace the now, and if it's stuff to please mainstream hipsters, eh, who cares? As long as it sounds good and creates live experiences to jam, and safely slam dance to.
As I mentioned, though, Never Enough is not a perfect record. It leaves you wanting more but I hope Yates works on the mix moving forward. Too many songs drown out his vocals. It's an autotune haze that undercuts the message and delivery of his words. Some tracks are unnecessary, too. I get the idea of interludes but "Ceiling" has that chipmunk-helium voice aura that feels out of place. Even as a fan of Paramore's Hayley Williams, her appearance on "Seein' Stars" isn't enough to elevate it. They're better stationed on a dance EP as they'll hit better there than here where they feel like experimental detours. The same for the Weezer-esque "Time is Happening" which doesn't have the intended impact. It's way overproduced and feels like AI a bit. It's a shame as it has that quirky energy I think would have pleasantly surprised a ton of listeners if it had just tweaked this aspect of the execution a bit. You want to feel Yates' raw words here.
The back half does end up being a tale of two sides. "Slow Dive" doesn't honor Slowdive -- it copies some Black Sabbath. I dig. But the closer "Magic Man" reiterates that filler tracks were added to create a soundtrack for a visual film the band plans to debut at Tribecca. I'm eager as hell for that but I'd like Turnstile to be more concise moving forward. Glow On nailed it on the head. But no matter what, Never Enough comes damn close. Props especially to cowbell king Daniel Fang for his frenetic, kinetic drum work again. And to Meg Mills for moving from touring guitarist to permanent member. There are more ups than downs on this album, and make no mistake, it does feel like this is a Turnstile summer. From the hooks, unpredictable guitars and the rhythms and melodies on tap, you can tell that they're going onto bigger and better things outside of the Jimmy Kimmel Show. The demand for them in Europe and the Americas is ramping up and I, myself, can't wait to catch this album played in full live.