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It’s rare that you come across a band that shakes up the punk genre and pushes both its musical and structural boundaries. In 1998, a Swedish band named Refused released a masterpiece of an album in the form of The Shape of Punk to Come – an album that is hardcore at heart, but was experimental enough to convince the average listener into believing it’s something more, something new. Somehow, the Umea group combined aggressive punk rock (which almost crossed the border into becoming metal) with jazz and electronic elements, creating tracks that felt like a much-needed breath of fresh air to the genre. It garnered appraisal from millions of punk fans and continues to hold a legacy that extends beyond itself. However, since the album’s release, it seems like punk has been relatively stagnant and, some may argue, reverted to how it was before its release.
Enter Turnstile – a hardcore punk outfit from Baltimore, who are out to take the torch from Refused and carry its bright flame even further, bulldozing the barriers that keep up hardcore punk’s structural norms as they power on through. Their 2021 album GLOW ON was an amazing amalgamation of hardcore punk, shoegaze, post-hardcore, Latin, dream pop, and so much more. It became a commercial hit, earning them 2 well-deserved Grammy nominations and landing them in end-of-year lists from several websites and publications. And now, 4 years later, here we are with their 4th album NEVER ENOUGH, where the band takes everything that they’ve learnt from this and goes the extra mile, in classic TLC style. It’s an album that has been highly anticipated by fans and critics alike, and it’s definitely full of surprises.
Much like its predecessor, NEVER ENOUGH is an art punk showcase that is best served in one go. Selecting specific tracks to listen to separately is not really feasible when it comes to these 14 songs, because it sounds better when digested from start to finish.
The intro, which also serves as the album’s title track, starts with an atmospheric and gentle synth-infused backdrop, as vocals from Brendan Yates reverberate into the abyss. “In the right place / At the right time / And still you sink into the floor” he sings, as the synth chord progression gloriously rises to a beautiful D chord and into a punk setting that weirdly sounds like a power ballad at the same time. As it fades back out into a sea of synth, distant tribal drums are heard as it gets closer and closer and closer, until it explodes into the anthemic SOLE, that wastes no time in getting you strapped in for the ride. Now the party can begin! The verses are groovy and fast, and the bridge is mysterious as it’s accompanied by an eclectic stab of pulsating synth notes. It then goes quiet, a bit too quiet… before exploding back into an unexpected beatdown ending with Brendan yelling “You’re better off alone” through the noise and chaos.
The album also has its fair share of guest appearances. On their 2nd single SEEIN’ STARS, Dev Hynes (AKA Blood Orange) returns from his appearance on their previous album to join Paramore’s Hayley Williams in providing guest vocals – which makes sense, given that its funk backbone mirrors that of Paramore’s latest album This Is Why! Members of the Canadian jazz group BadBadNotGood lend their brass skills on the infectiously groovy DREAMING, turning the track into a Samba/punk rock fusion that feels like it shouldn’t work, but it works oh so well. And if that’s not enough, after SUNSHOWER leaves you with whiplash following drummer Daniel Fang’s flurry of tom-toms as the synths kick in, a distant flute is heard echoing into the track, courtesy of Shabaka Hutchings, formerly of The Comet Is Coming. That’s right – A FLUTE. On a Turnstile song. When I say that this album is full of surprises, I truly mean it.
It isn’t all synth-infused, however – some songs are true throwbacks to their hardcore roots. Take BIRDS, for example, which starts with a low, droning bass note as Fang performs a cowbell solo that sounds tense and ominous, à la Whiplash, before it cuts short to a thrashy guitar riff, setting the metaphorical bomb off to lead into a classic hardcore song. Even its No Doubt-esque breakdown is crushing and packs a punch too, as Yates yells “Finally I can see it, these birds not meant to fly alone” over the groove. DULL is another example of Turnstile throwing it back to their early days, with a chorus that sounds massive and anxious at the same time, thanks to the Wah-drenched guitar swirl that comes in its second repeat. And if you’re someone who’s in the boring “I miss the old Turnstile” camp, then TIME IS HAPPENING is for you, as they create a pop punk song that is worthy of laudation from groups like The Movielife and blink-182. It’s simplistic in principle, but is also full of all kinds of sonic textures that only a band like them could come up with.
Turnstile are to hardcore punk what Sleep Token are to metal: true genre pioneers. And while that title will no doubt come with its fair share of haters who tend to gatekeep the genre, it’s hard not to notice the impact that they’ve left. Yates and Co. are climbing further up the ladder of stardom, and their place at the top is rightfully theirs. As the outro MAGIC MAN fades out, it does beg the question of “What could possibly come next?” but it’s a question that the Baltimore group are prepared to answer when the time is right. Perhaps they already have the answer figured out. Who really knows?
So, now that Charli XCX’s Brat Summer has officially come to an end, it’s only fitting that we segue into Turnstile Summer, right? I mean, Charli DID suggest it at her recent Coachella performance, so it’s as good a confirmation as any! Regardless of whether you partake in Turnstile Summer this year or you don’t, it’s hard to keep away from the Baltimore band. Because believe me, this won’t be the last time you hear of Turnstile anytime soon. They’re only just getting started.
Available June 6th, more information HERE
Review – Joe Richardson
Photo credit – Atiba Jefferson
