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Never Enough
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Never Enough in Chattanooga, TN
Current price: $15.99
Barnes and Noble
Never Enough in Chattanooga, TN
Current price: $15.99
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Size: CD
Turnstile
's third album,
Glow On
, broke them out of the hardcore scene and into the mainstream, earning near-universal acclaim, a Grammy nomination, and prominent chart placements around the world. Since their formation in 2010, the Baltimore band have tested the genre's borders, infusing their heavy music with unexpected musical references and an exploratory nature, traits they amplified on
. Arriving four years later and weighted with expectations is
Never Enough
, the group's fourth full-length. Produced by frontman
Brendan Yates
with assistance from hardcore specialist
Will Yip
, this is the sound of a band in their creative prime, undaunted -- and quite possibly ignited -- by the spotlight now trained on them. It's their first release without founding guitarist
Brady Ebert
, who is replaced by new member
Meg Mills
, and even if the change is subtle,
have turned a corner here. Without abandoning their hardcore roots, they embrace a definitively more melodic sound that visits all sorts of locales, from lush dream pop and electronica to pristine, funky alt-rock and thrashy nu metal, all of it played with confidence and finesse. Across the board there is a greater emphasis on
Yates
' voice, which is its own unique instrument. In its more explosive moments, comparisons to
Perry Farrell
's melodic snarls are inevitable, and the heavy use of delay and other vocal effects nods to
Jane's Addiction
's 1988 classic
Nothing's Shocking
. Conversely, the hooky "Seein' Stars" sounds like
the Police
filtered through a glassy
Cocteau Twins
sheen. Even within songs that at first seem like straight-ahead melodic hardcore bangers, surprises abound, like the majestic tribal drums and synth line in the latter half of "Sole" or the horn line in "Dreaming."
is a deliberately more synth-driven and effects-heavy album than
's previous output, yet it feels just as vital and gutsy because of how it plays with the mix. Bookended by the rousing title track and radiant "Magic Man," it's a success from start to finish, offering a deft blend of surprise and satisfaction. ~ Timothy Monger
's third album,
Glow On
, broke them out of the hardcore scene and into the mainstream, earning near-universal acclaim, a Grammy nomination, and prominent chart placements around the world. Since their formation in 2010, the Baltimore band have tested the genre's borders, infusing their heavy music with unexpected musical references and an exploratory nature, traits they amplified on
. Arriving four years later and weighted with expectations is
Never Enough
, the group's fourth full-length. Produced by frontman
Brendan Yates
with assistance from hardcore specialist
Will Yip
, this is the sound of a band in their creative prime, undaunted -- and quite possibly ignited -- by the spotlight now trained on them. It's their first release without founding guitarist
Brady Ebert
, who is replaced by new member
Meg Mills
, and even if the change is subtle,
have turned a corner here. Without abandoning their hardcore roots, they embrace a definitively more melodic sound that visits all sorts of locales, from lush dream pop and electronica to pristine, funky alt-rock and thrashy nu metal, all of it played with confidence and finesse. Across the board there is a greater emphasis on
Yates
' voice, which is its own unique instrument. In its more explosive moments, comparisons to
Perry Farrell
's melodic snarls are inevitable, and the heavy use of delay and other vocal effects nods to
Jane's Addiction
's 1988 classic
Nothing's Shocking
. Conversely, the hooky "Seein' Stars" sounds like
the Police
filtered through a glassy
Cocteau Twins
sheen. Even within songs that at first seem like straight-ahead melodic hardcore bangers, surprises abound, like the majestic tribal drums and synth line in the latter half of "Sole" or the horn line in "Dreaming."
is a deliberately more synth-driven and effects-heavy album than
's previous output, yet it feels just as vital and gutsy because of how it plays with the mix. Bookended by the rousing title track and radiant "Magic Man," it's a success from start to finish, offering a deft blend of surprise and satisfaction. ~ Timothy Monger
Turnstile
's third album,
Glow On
, broke them out of the hardcore scene and into the mainstream, earning near-universal acclaim, a Grammy nomination, and prominent chart placements around the world. Since their formation in 2010, the Baltimore band have tested the genre's borders, infusing their heavy music with unexpected musical references and an exploratory nature, traits they amplified on
. Arriving four years later and weighted with expectations is
Never Enough
, the group's fourth full-length. Produced by frontman
Brendan Yates
with assistance from hardcore specialist
Will Yip
, this is the sound of a band in their creative prime, undaunted -- and quite possibly ignited -- by the spotlight now trained on them. It's their first release without founding guitarist
Brady Ebert
, who is replaced by new member
Meg Mills
, and even if the change is subtle,
have turned a corner here. Without abandoning their hardcore roots, they embrace a definitively more melodic sound that visits all sorts of locales, from lush dream pop and electronica to pristine, funky alt-rock and thrashy nu metal, all of it played with confidence and finesse. Across the board there is a greater emphasis on
Yates
' voice, which is its own unique instrument. In its more explosive moments, comparisons to
Perry Farrell
's melodic snarls are inevitable, and the heavy use of delay and other vocal effects nods to
Jane's Addiction
's 1988 classic
Nothing's Shocking
. Conversely, the hooky "Seein' Stars" sounds like
the Police
filtered through a glassy
Cocteau Twins
sheen. Even within songs that at first seem like straight-ahead melodic hardcore bangers, surprises abound, like the majestic tribal drums and synth line in the latter half of "Sole" or the horn line in "Dreaming."
is a deliberately more synth-driven and effects-heavy album than
's previous output, yet it feels just as vital and gutsy because of how it plays with the mix. Bookended by the rousing title track and radiant "Magic Man," it's a success from start to finish, offering a deft blend of surprise and satisfaction. ~ Timothy Monger
's third album,
Glow On
, broke them out of the hardcore scene and into the mainstream, earning near-universal acclaim, a Grammy nomination, and prominent chart placements around the world. Since their formation in 2010, the Baltimore band have tested the genre's borders, infusing their heavy music with unexpected musical references and an exploratory nature, traits they amplified on
. Arriving four years later and weighted with expectations is
Never Enough
, the group's fourth full-length. Produced by frontman
Brendan Yates
with assistance from hardcore specialist
Will Yip
, this is the sound of a band in their creative prime, undaunted -- and quite possibly ignited -- by the spotlight now trained on them. It's their first release without founding guitarist
Brady Ebert
, who is replaced by new member
Meg Mills
, and even if the change is subtle,
have turned a corner here. Without abandoning their hardcore roots, they embrace a definitively more melodic sound that visits all sorts of locales, from lush dream pop and electronica to pristine, funky alt-rock and thrashy nu metal, all of it played with confidence and finesse. Across the board there is a greater emphasis on
Yates
' voice, which is its own unique instrument. In its more explosive moments, comparisons to
Perry Farrell
's melodic snarls are inevitable, and the heavy use of delay and other vocal effects nods to
Jane's Addiction
's 1988 classic
Nothing's Shocking
. Conversely, the hooky "Seein' Stars" sounds like
the Police
filtered through a glassy
Cocteau Twins
sheen. Even within songs that at first seem like straight-ahead melodic hardcore bangers, surprises abound, like the majestic tribal drums and synth line in the latter half of "Sole" or the horn line in "Dreaming."
is a deliberately more synth-driven and effects-heavy album than
's previous output, yet it feels just as vital and gutsy because of how it plays with the mix. Bookended by the rousing title track and radiant "Magic Man," it's a success from start to finish, offering a deft blend of surprise and satisfaction. ~ Timothy Monger
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