June 14, 2025
Turnstile’s ‘Never Enough’: A hardcore identity crisis in Pastel
Turnstile, once hailed as Baltimore’s hardcore heroes, are now neck-deep in a full-blown identity crisis—complete with neon lights and Coachella cameos. Their fourth album, Never Enough, is all shiny production, big-name guests, and pastel aesthetics.
Now that they’re backed by billboards and New York Times praise, the internet is split. Some say Turnstile left hardcore behind. Others argue they were never really part of it, comparing them to Yu-Gi-Oh: technically in the category, but mostly for kids.
Now that they’re backed by billboards and New York Times praise, the internet is split. Some say Turnstile left hardcore behind. Others argue they were never really part of it, comparing them to Yu-Gi-Oh: technically in the category, but mostly for kids.
This content adapted from the Wikipedia page Turnstile (band), licensed via CC BY-SA. Content retrieved was modified to fit the context and style of this story.
THE NEVER ENOUGH TOUR
“I CARE / DULL” LIVE ON AIR
Hardcore vs. Hoverboards
For diehards on Reddit’s r/Hardcore, Never Enough is less a record and more a betrayal. Think of it as Blink-182 walking into a Minor Threat show wearing Yeezys.
From pastel visuals to synth intros, Turnstile’s stylistic evolution reads to some like a prolonged prank. One user even compared them to the _FIFA menu soundtrack_, which in hardcore terms is basically the musical equivalent of calling someone a mall cop.
Their move from local legends to Rick Rubin’s Laurel Canyon mansion hasn’t helped their credibility. Nor has a Coachella shout-out or opening for Blink-182. Hardcore is allergic to success, and Turnstile’s glow-up has made them an itchy subject.
Musically, Never Enough feels like a retweet of Glow On. Same synths, same crunchy guitar drop, same predictable build-up. Tracks like 'Seeing Stars' and 'Sole' echo earlier work but with less punch. The collaborations—Hayley Williams, Devonté Hynes—add glitter but not much glue.
From pastel visuals to synth intros, Turnstile’s stylistic evolution reads to some like a prolonged prank. One user even compared them to the _FIFA menu soundtrack_, which in hardcore terms is basically the musical equivalent of calling someone a mall cop.
Their move from local legends to Rick Rubin’s Laurel Canyon mansion hasn’t helped their credibility. Nor has a Coachella shout-out or opening for Blink-182. Hardcore is allergic to success, and Turnstile’s glow-up has made them an itchy subject.
Musically, Never Enough feels like a retweet of Glow On. Same synths, same crunchy guitar drop, same predictable build-up. Tracks like 'Seeing Stars' and 'Sole' echo earlier work but with less punch. The collaborations—Hayley Williams, Devonté Hynes—add glitter but not much glue.
Lost between pit and pop
At its best, the album hints at what Turnstile could be: a band not just escaping genre labels, but vaporizing them.
Songs like 'I Care' and 'Dull' flirt with greatness, pulling from disco, shoegaze, and even Brian Wilson vibes. 'Look Out for Me,' with its Wire sample and genre whiplash, proves Turnstile can be weird, big, and brilliant.
Songs like 'I Care' and 'Dull' flirt with greatness, pulling from disco, shoegaze, and even Brian Wilson vibes. 'Look Out for Me,' with its Wire sample and genre whiplash, proves Turnstile can be weird, big, and brilliant.
Trivia
Besides playing music, what other activity has been a significant part of the band members' lives and often influenced their music and visual style?
TURNSTILE.MOVIE https://turnstile.lnk.to/NEVER-ENOUGH Camera operators - Alex Henery Jack Duffy Mitch Wojick Matt Fevrier ...