NEVER ENOUGH

Turnstile have long been the darling of the modern heavy music scene, successfully bridging the gap between hardcore grit and indie-rock sensibility. However, with their latest offering, 'NEVER ENOUGH', the band seems to have wandered into a labyrinth of their own making. While the production is undeniably polished, the sheer runtime of over 45 minutes feels like a deliberate choice to pad the experience, ultimately diluting the impact of their most potent hooks.

From the opening title track, 'NEVER ENOUGH', there is a palpable sense of ambition. The guitars are thick, and the rhythmic backbone remains sturdy. Yet, where previous records thrived on lean, muscular arrangements, 'NEVER ENOUGH' often meanders. The transition into 'SOLE' and 'I CARE' shows a band trying to find a groove, but the momentum feels hampered by repetitive motifs that linger just a beat too long. It is as if they are trying to prove they can be 'atmospheric', but in doing so, they risk losing the very urgency that defined their rise.

A sprawling, over-extended odyssey that sacrifices the band's core kinetic energy for atmospheric filler.

As we move into the middle section, 'DREAMING' and 'LIGHT DESIGN', the influence of shoegaze and dream-pop becomes palpable. For a melody-first listener, these moments offer some pleasant textures, but the mix balance occasionally feels skewed. The guitars sometimes wash out the vocal hooks, making it difficult to latch onto the melodic core of the song. It is a sophisticated experiment, certainly, but it lacks the sharp, jagged edges that make a Turnstile record truly electrifying.

'DULL' and 'SUNSHOWER' represent the peak of this stylistic drift. These tracks are arguably the most 'musical' in a traditional sense, featuring layered harmonies that would make a prog-rocker blush. However, the repetition of these motifs across consecutive tracks begins to feel like a stylistic loop. Instead of building tension, the music settles into a comfortable, almost stagnant, plateau. It is a beautiful plateau, but it is a plateau nonetheless.

By the time we reach 'LOOK OUT FOR ME' and 'CEILING', the fatigue starts to set in. The album is clearly trying to be an 'experience', but the sprawling nature of the tracklist makes it feel like a marathon where the finish line keeps moving. 'SEEIN' STARS' attempts to reclaim some of that lost energy, but it feels like a frantic sprint to make up for lost ground. The production here is crisp, but the songwriting feels like it's trying too hard to compensate for the preceding lethargy.

The final stretch, including 'SLOWDIVE' and 'TIME IS HAPPENING', leans heavily into the ethereal. While 'SLOWDIVE' is a gorgeous piece of sonic architecture, it feels out of place in a set that began with such visceral intent. The closing track, 'MAGIC MAN', serves as a grand finale, but it feels like a victory lap for a race that became far too long. The band has clearly mastered the art of the 'vibe', but they have sacrificed the 'punch' in the process.

Ultimately, 'NEVER ENOUNG' is a polished, professional piece of work that showcases Turnstile's versatility. However, by trying to be everything to everyone—hardcore, indie, shoegaze, and atmospheric pop—they have ended up with a collection of songs that occasionally lose their way. It is a beautiful, sprawling, and ultimately exhausting journey that leaves the listener yearning for the lean, mean energy of their earlier days. It is a high-quality record that simply doesn't know when to stop.